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[TABLE OF CONTENTS]
Foreword ..........................................................................................................................................1
What Is Out Of Home Advertising? .................................................................................................2
Government And Out Of Home Advertising ....................................................................................5
Out Of Home Audience Measurement.............................................................................................7
Planning For Out Of Home Media..................................................................................................11
Buying Out Of Home Media ..........................................................................................................17
Effectiveness..................................................................................................................................20
Success Stories ........................................................................................................................23
Creating Out Of Home Advertising................................................................................................41
Production ......................................................................................................................................52
Billboards..................................................................................................................................55
Street Furniture ........................................................................................................................65
Transit .......................................................................................................................................76
Alternative ................................................................................................................................94
Cinema ...................................................................................................................................110
About Us ......................................................................................................................................112
Glossary .......................................................................................................................................116
Index.............................................................................................................................................125

[FOREWORD]
By OAAA President and CEO Nancy Fletcher & TAB President and CEO Joe Philport
It’s been 33 years since the first Planning for
Out of Home Media was published. Each new
update to the guidebook has been significantly
different than the one before, featuring
fresh information, formats,
and guidelines. If there has been
one constant over the years it has
been change.
The last edition of the guide was
written in 2000. There can be no
argument the media environment
has changed in the past decade.
We’ve seen more change in the
advertising business in the past 10
years than in the previous two
decades. Technology has radically altered the
way people perceive and consume media and,
as a result, how they respond to advertising
messages on a daily basis.
When the first guide was released in 1977, it
was easy to reach a significant portion of the
national audience by advertising on the three
primetime networks. A 20 share for the
evening news was common and the daily newspaper
was a breakfast table staple. Agencies
had it easier: a few phone calls, a few million
dollars, and a buy was done.
Today, is another story. A 10 share is considered
exceptional for a network primetime show.
With the advent of digital video recorders, it’s
no longer a certainty that a 30 second spot has
the same penetration it once did. Newspapers
are hemorrhaging readers. Magazines are looking
to tablet computers for salvation while
radio is finding itself under siege from satellite
channels.
Consumer behavior is changing, too.
Americans spend far more time away from
home than they did in the late 1970s. They
have longer commutes. They use more public
transportation. They live in an environment with
overwhelming media choices where the noise is
constant and ad clutter is unavoidable. There
are almost as many ways to avoid advertising
today as there are ways to advertise.
Through it all, out of home has adapted, grown,
and prospered. No medium is better suited for
21st century communications than out of
home. It reaches consumers when
they are mobile, actively making
buying decisions, and cuts through
ad clutter. It’s unavoidable and one
of the most cost effective ways to
reach a mass audience.
Through adaptation, the out of
home medium has reinvented itself
and its formats. The backbone of
the industry remains traditional
billboards, but even these venerable
advertising structures have
been updated by going digital. Street furniture
offers more sophisticated and stylish variations
with ubiquitous presence. Transit is seen by
more people, more often. New alternative formats
continue to grow and evolve, often using
new and innovative technologies. Cinema
advertising is growing by leaps and bounds.
The list goes on.
The media planner’s job is far more complicated
today than it was when the first Planning
for Out of Home Media guidebook was published.
It has been redesigned to help navigate
this changing landscape. While not an exhaustive
compendium of facts and figures, this
guide is a useful primer to help new and veteran
planners understand media options available,
how those options can reach certain audiences,
and how those audiences are measured.
It acknowledges the need for integrated marketing
plans and shows how out of home can
be a vital and useful part of nearly any campaign,
either by itself or combined with other
media.
Out of home advertising has proved it has
staying power and we look forward to the continually
growing and changing medium on the
horizon.
1

[WHAT IS OUT OF HOME ADVERTISING?]
For more information visit http://www.oaaa.org/about/default.aspx
walls and fences to advertise their wares.
Primarily a national or regional medium that is
bought locally, outdoor or out of home advertising
appears in a variety of places: on billboards,
bus shelters, buses, and taxis; in malls,
airports, subways, and movie theaters; and at
sports stadiums, golf courses and gas stations.
OAAA puts these formats into five categories:
billboards, street furniture, transit, alternative,
and cinema.
Since the early days of the traveling circus, out
of home advertising has promoted commerce
and helped guide travelers to their destinations.
Out of home advertising is a growing
industry with a bright future. While other media
have declining audiences, out of home benefits
from consumers spending increasingly more
time away from home. Improvements and innovations
in technology are also expanding the
potential reach of the medium.
[HISTORY]
Out of home advertising can trace its lineage
back to the earliest civilizations as the
Egyptians employed tall stone obelisks to publicize
laws and treaties.
In 1450, Johannes Gutenberg invented movable
type printing, and advertising in the modern
sense was launched in the form of the
handbill.
When the lithographic process was perfected
in 1796, the illustrated poster became commonplace.
Gradually, measures were taken to
ensure exposure of a message for a fixed period
of time. In order to offer more desirable
locations where traffic was heavy, bill posters
began to erect their own structures.
The large American outdoor poster (over 50
square feet) originated in New York in Jared
Bell’s office where he printed posters for the
circus in 1835. In the beginning, American
roadside advertising was generally local.
Merchants painted signs or glued posters on
In 1901, a standardized billboard structure was
created in America, which ushered in a boom in
national billboard campaigns. Confident that
the same ad would fit billboards from
Connecticut to Kansas, big advertisers such as
Palmolive, Kellogg, and Coca-Cola began
mass-producing billboards. By 1912, standardized
out of home advertising was available in
nearly every major urban center.
In 1958, Congress passed the first federal legislation
to voluntarily control billboards along
interstate highways. The law was known as the
Bonus Act because states were given monetary
incentives to control signs.
In 1962, a French out of home advertising company
developed the bus shelter. A popular outdoor
venue, shelters are typically built at no
cost to municipalities and rely on ad revenue
for their upkeep.
An iconic early billboard.
On October 22, 1965, the Highway
Beautification Act was signed into law by
President Lyndon B. Johnson. It controlled billboards
on federally controlled roads by limiting
out of home advertising to commercial and
industrial areas, requiring states to set size,
lighting, and spacing standards, and establishing
just compensation for removal of lawfully
2

Billboards Street Furniture
Out of Home Media
Transit Alternative Cinema
Bulletins Bicycles and Bicycle Racks Airports Arena & Stadium Advertising Cinema
Digital Billboards Bus Benches Buses Airborne
Junior Posters Bus Shelters In-Flight Advertising Beach Advertising
Posters Convenience Store Advertising Mobile Billboards Blimps & Custom Inflatables
Spectaculars In-Store Advertising Rail Systems & Subways Cartons & Cups
Wall Murals Kiosks: Information Taxicabs Dry Cleaning Bags
Wrapped Posters Kiosks: Telephone Truckside Advertising Gas Station Advertising
Wrapped Square Posters Newsstands and Newsracks Golf Course Advertising
Pedestrian Panels Marine Vessels
Shopping Malls Parking Garage Advertising
Place Based Digital Networks
Place-Based Advertising
Projection
Ski Area Advertising
Trash Receptacles
erected signs.
More recently, digital technology has transformed
the industry. Hand-painted boards have
been replaced by computer printed out of
home advertising formats. Out of home companies
offer an increasingly diverse selection of
advertising formats, including bus shelters,
transit posters and kiosks; airport advertising,
mall displays and taxi ads.
[CONSUMER INTERACTION]
The out of home advertising industry has
evolved into a rejuvenated medium that com-
petes aggressively in the 21 st century media
environment. Out of home advertising is a vital
element in well-conceived media plans.
Consumers are in a hurry and out of home
advertising provides quick and concise information
to help individuals make rapid purchase
HBO’s “Big Love” asked consumers to listen in on the
characters secrets in a storescape campaign in New
York.
decisions. Out of home surrounds consumers
with an ubiquitous presence, offering media
choices to suit every target audience, geography,
and strategic plan.
As consumers become increasingly mobile and
engaged in the away from home space, out of
home advertising has the potential to reach
these individuals and create a dialogue with
them about brands.
Brand engagement, or consumer interaction,
describes the process of forming an emotional
or rational attachment between a person and a
brand. What makes this interaction complex is
that brand engagement is partly created by
institutions and organizations, but it is equally
created through the perceptions, attitudes,
beliefs, and behaviors of those with whom
these institutions and organizations are communicating
or engaging.
As a relatively new addition to the marketing
and communication mix, brand engagement
sits in the space between marketing, advertising,
media communication, social media, organizational
development, internal communications,
and human resource management. Out
of home advertising can fill the void by providing
relevant communications wherever and
whenever consumers are ready to make purchase
decisions.
Engagement between a brand and its consumers
-- and potential consumers -- is a key
3

objective of marketing efforts and one of the
key attributes of out of home advertising. In
general, the way a brand connects to its consumer
is through a range of “touchpoints,” or a
sequence of potential ways the brand makes
contact with an individual. The various outdoor
formats and their diverse positioning in a marketplace
offer brands countless touchpoints to
reach busy consumers every day.
James Ready beer asked consumers to “share their
billboard.”
4

[GOVERNMENT AND OUT OF HOME ADVERTISING]
For more information visit http://www.oaaa.org/LegislativeAndRegulatory/
billboards along other roads.
Government plays a major role in out of home
advertising, as a top customer of the medium
and also as regulator. Local transit authorities
earn millions of dollars in revenue from advertising
contracts. The FBI and other law
enforcement agencies use out of home
advertising as a regular tool on behalf of public
safety.
Regulation
Out of home advertising is regulated on the
federal, state and local levels. The Highway
Beautification Act (HBA) of 1965 controls
roadside advertising along some 300,000 miles
of interstates and other federal roads. The
HBA was designed to regulate billboards, not
eliminate them, by promoting the orderly display
of out of home advertising in commercial
and industrial areas (where other business is
conducted). States and communities may be
more restrictive than federal standards. Under
the Act, states must maintain “effective control”
of size, lighting, and spacing of billboards
or risk losing 10 percent of federal highway
funds. States and communities issue permits
for billboards; a permit is part of the billboard’s
value.
Constitutional Protections
The First Amendment protects free speech,
including commercial speech contained in outdoor
advertising. Therefore, government
attempts to control advertising content raise
constitutional issues. The outdoor industry selfregulates,
voluntarily creating a 500-foot buffer
zone around schools and other places where
children congregate against advertising products
illegal for sale to minors.
The “takings clause” of the Fifth Amendment
requires just compensation when government
takes private property for a public purpose.
The HBA requires just compensation to the
sign owner and landowner for billboards
removed along roadways controlled by the Act;
most states also have similar protections for
The OAAA Code of Industry Principles
The out of home advertising industry’s voluntary
code has been updated to keep pace with
change. The most recent code modification
said animated, flashing, scrolling, intermittent,
or full-motion video elements do not belong on
digital billboards. Further, brightness of digital
billboards should be adjusted to surrounding
light conditions. The OAAA Code of Industry
Principles states:
Observe Highest Free Speech Standards
The industry supports the First Amendment
right of advertisers to promote legal products
and services, however, the industry also supports
the right of out of home advertising companies
to reject advertising that is misleading,
offensive, or otherwise incompatible with individual
community standards, and in particular,
we reject the posting of obscene words or pictorial
content.
Protect the Children
The industry is careful to place out of home
advertisements for products illegal for sale to
minors on advertising displays that are a reasonable
distance from the public places where
children most frequently congregate.
The industry supports reasonable limits on the
total number of out of home advertising displays
in a market that may carry messages
about products that are illegal for sale to
minors.
The industry seeks to maintain broad diversification
of customers that advertise using out of
home advertising.
Support Worthy Public Causes
The industry is committed to providing pro
bono public service messages to promote worthy
community causes.
The industry advocates the use of out of home
advertising for political, editorial, public serv-
5

ice, and other noncommercial messages.
Provide an Effective, Attractive Medium for
Advertisers
The industry is committed to providing value
and service to advertisers in communities
nationwide.
The industry is committed to maintaining and
improving the quality, appearance, and safety
of out of home advertising structures and locations.
The industry encourages the use of new technologies
to continuously improve the service
provided to advertisers and the information
provided to the public.
The industry is committed to excellence in the
ads displayed because outdoor advertising provides
the most public “art gallery” there is.
Respect the Environment
The industry is committed to environmental
stewardship.
The industry encourages environmentally
friendly business practices for the reduction of
waste, improvement of energy efficiency, and
use of recyclable materials.
Provide Effective and Safe Digital Billboards
The industry is committed to ensuring that the
commercial and noncommercial messages disseminated
on standard-size digital billboards
will be static messages and the content shall
not include animated, flashing, scrolling, intermittent
or full-motion video elements (outside
established entertainment areas).
The industry is committed to ensuring that the
ambient light conditions associated with standard-size
digital billboards are monitored by a
light sensing device at all times and that display
brightness will be appropriately adjusted
as ambient light levels change.
Uphold Billboard Industry Self Regulation
The industry supports billboard advertising as a
business use to be erected in commercial and
industrial areas.
The industry supports new billboard locations
in unzoned commercial and industrial areas
only where there is business activity.
The industry opposes the construction of
stacked bulletins (i.e., two 14’ x 48’ faces or
larger facing in the same direction)
The industry opposes the construction of new
billboards on truly scenic segments of highways
outside of commercial and industrial
areas.
The industry opposes illegal cutting, and are
committed to reasonable control and maintenance
of vegetation surrounding billboards.
The industry supports the expeditious removal
of illegally erected billboards without compensation;
OAAA member companies are encouraged
to inform responsible authorities if they
become aware that illegal billboards are being
erected.
Protect Billboard Industry Rights
The industry supports the right of out of home
advertising companies to maintain lawfully
erected billboards.
The industry supports laws that assure just
compensation for removal of legal billboards.
6

[OUT OF HOME AUDIENCE MEASUREMENT]
For more information visit http://www.eyesonratings.com
The out of home audience is measured with
EYES ON. These metrics, provided by the
Traffic Audit Bureau (TAB), are available in
over 200 markets with demographic ratings for
bulletins, posters, junior
posters, transit shelters,
and other street furniture
throughout the
United States.
Why EYES ON?
For over 75 years, out of home media buyers
and sellers used Daily Effective Circulation
(DECs), or the number of times people 18+
passed an out of home display in a day. EYES
ON goes beyond DECs in several important
ways.
With DECs, out of home buyers and sellers did
not have access to many of teh metrics or
standards offered by other media. Because of
this, out of home was a below the line medium
and not considered in the initial planning
process. EYES ON has closed the gap by introducing
standard markets, weekly measurement,
demographic information, audience delivery,
reach, and frequency to out of home
advertising. It is also the first media measurement
system to report people who actually see
an ad.
The Research Program
EYES ON is an integrated research program
designed to meet the unique challenge of
measuring out of home audiences. The specifications
for EYES ON were set by advertisers,
Source: TAB
advertising agencies, and media companies.
The research design was created following an
international review of best practices in out of
home measurement.
A technical committee
of media research
experts provided over-
® sight to an RFP
process, which selected
six leading research organizations to work in
collaboration. Their expertise included: survey
research, traffic engineering, eye-tracking
research, modeling, and data integration. Only
the integration of multiple techniques and data
streams could yield the accurate, granular
details (unit by unit ratings across the United
States) essential for reporting the value of an
out of home audience.
EYES ON Impressions
EYES ON impressions (EOIs) are the number
of eye-contacts people have with an out of
home display.
Some facts about EYES ON impressions:
• EOIs are based only on audiences who actually
see ads.
Three separate companies –
Micromeasurements Solutions, Perception
Research Services, and the Marketing
Accountability Partnership – worked together
to create high quality video simulations of
vehicular and pedestrian exposures for various
out of home displays in various environments.
In total, nearly 15,000 tests of people noticing
displays and the ads on them were conducted
using eye-tracking technology. The results were
analyzed and modeled to generate EYES ON
adjustments for all TAB audited inventory.
These adjustments made out of home the first
medium to report audience noticing the advertising
on a display, or its EYES ON commercial
audience.
7

The key factors that determine the likelihood a
display and its advertising will be noticed
include: format, display size, roadside position,
angle to the road, street type, and distance
from the road.
• EOIs are available for all major demographic
audience segments including age, gender,
race/ethnicity, and income.
EYES ON uses travel information from the US
Census Bureau and other government sources
that report trips to work and other trips from
one census tract (neighborhood) to another.
This rich data source allows TAB’s data integration
team to generate millions of trips in all
markets across the country.
Mediamark Research (MRI) conducted approximately
50,000 travel surveys in 15 markets.
The purpose of these surveys was to collect
detailed information about trips, their purposes,
and modes of transportation, in order to
supplement trip information derived from the
Census surveys.
This survey information provides the data
required for reporting the audience demographics,
in-market vs. total audiences, and trip
duplication required for reach and frequency.
• EOIs are reported as weekly impressions versus
DECs, which are daily measures.
Weekly circulation counts are still the foundation
of the EYES ON measurement system.
They provide a gross count of the people who
pass each out of home display and have an
opportunity to see the advertising. TAB collects
traffic counts from departments of transportation
at the local, county, and state levels.
Peoplecount contributes the required traffic
engineering expertise needed to translate the
numbers into the average weekly traffic volume
for the current year. Both vehicular and pedestrian
circulation are considered. Pedestrian circulation
is only available in select markets.
• Unless identified as in-market EYES ON
impressions, EOIs may include impressions
delivered to people living outside of the market.
Rating Points
Rating points are the total number of in-market
EOIs delivered by an out of home display
expressed as a percentage of that market’s
population. One rating point represents impressions
equal to 1 percent of that population.
Rating points include multiple impressions to a
person and are a gross count of audience.
Some facts about EYES ON Impressions and
Gross Rating Points (GRPs):
• Total EOIs must first be reduced to the inmarket
EOIs: individuals who live in the defined
market and are part of that market’s population
base.
• Market definitions (CBSA, DMA, or custom)
must be clearly defined.
• Custom markets may be created using counties
as a base.
• Only ratings for the same geography or market
can be added to report total GRPs.
Source: TAB
Reach and Frequency
Out of home’s old reach and frequency model
was incapable of showing the true value of
certain advertising campaigns. For example,
8

geographically dispersed and clustered schedules
with equivalent GRPs would have had the
same reach. With EYES ON, the new reach
and frequency model considers not only the
size of the campaign, but also market size and
road infrastructure,
media or campaign
coverage in the
market, and most
importantly, audience
duplication.
Tiered Operating
Functions
EYES ON metrics
are integrated into
four core operating
functions for common
business trans-
Budget
Reallocation
MMarketing k ti
Strategy
Proof of
Performance
actions. The first is the incorporation of EYES
ON into strategic marketing processes and
media planning software. Second is the addition
of EYES ON data into buying software.
Third is the assimilation of EYES ON information
into charting functions that are linked with
other back-office systems for media execution.
The last is creating an independent post-campaign
delivery platform that provides proof of
performance detail and budget reallocation
guidance, among other services. There are several
third-party processors providing software
applications for these purposes. Some out of
home specialist organizations and a few media
operators have developed proprietary software
platforms.
Including EYES ON data in the tiered operating
functions used by out of home practitioners
ensures data is consistent at every level of a
business transaction. From delivery of client
data to the execution of a contract, audience
metrics are the glue that holds a marketing
strategy together during every phase of a campaign.
Planning
Advertisers will typically approve a level of
weight, communication goals, timing of the
schedule, markets, and budgets for a media
campaign after many different plans are con-
sidered. Planners may judge what gross rating
points’ levels might typically cost for various
media to structure a plan.
In out of home, rating points are the percentage
of a target audience
a panel or
Planning
Media
Execution
Buying
group of panels
deliver to a market.
Gross rating points
are the sum of the
individual panel rating
points each
panel delivers in a
schedule and represents
the total
“media weight” of a
campaign. A general
planner will often
want to understand the average reach and frequency
a certain amount of media weight will
deliver.
Buying
When planning what to buy, buyers evaluate
numerous factors including rates, geographies,
demographics, and psychographics relating to
an advertiser’s target audience. Media buyers
try to optimize what is bought and that can be
dependent on budget, media channels and specific
characteristics, available inventory, and
how much media space is required.
EYES ON provides consistent and meaningful
measures to easily evaluate out of home
against other media in a multi-faceted media
plan. As a function of buying specific out of
home units, buyers analyze reach and frequency,
rating point delivery, and other factors
based on media schedules using the available
inventory provided by media operators.
EYES ON rating points, as in broadcast, measure
the size of an audience reached by either a
specific unit or an out of home campaign.
Target rating points are therefore the product
of the percentage of a target audience reached
by an out of home campaign, and the frequency
that a target audience sees the campaign.
9

EYES ON impressions reflect audience, which
relates to rating points. Buyers will make decisions
about which out of home inventory is purchased
based on how well each individual unit
of inventory achieves an overall campaign
objective. Buyers and sellers should negotiate
less based on the attributes of panels and
more on the delivery of gross rating points or
audience.
Business Systems
Charting is how an out of home contract is
executed and where the “rubber meets the
road.” Charting personnel select specific out of
home inventory for inclusion in a contracted
campaign. The multi-dimensional and granular
nature of EYES ON data allows media operators
to chart campaigns based on detailed target
audience compositions.
EYES ON provides a rich database with unique
metrics assigned to specific units. Every location
charted adds unique value to a campaign.
Units should be selected for a campaign based
on an understanding of the weekly rating
points delivered against a specific audience
and the percent composition each unit adds to
an overall plan objective (to minimize media
waste). To make this conversion, the charting
function and related software packages used
by media operators will change.
Campaigns should be charted based on total
weekly rating points delivery against a target
audience. The actual number of units delivered
for a specific campaign might not be the same
as the rate card planning allotments since
gross rating points delivery, not panels, should
be the objective. In this way, charting personnel
would select specific units and sum all rating
points to achieve a total weekly rating
point’s threshold for the charted campaign.
In the case of bulletin rotations, total rating
points delivery should reflect the total campaign
objectives and might be accumulated
over time. For example, a campaign objective
of 100 weekly GRPs might deliver 95 weekly
rating points for eight weeks and 105 weekly
rating points the subsequent eight weeks after
a rotation. The campaign total over 16 weeks
would be 100 weekly rating points delivered.
However, to effectively meet an advertiser’s
strategic media objectives, it is advisable to
chart a campaign with no more than a five
weekly rating point’s variation against total
audience target levels.
Evaluating
After a media buy has been executed, agency
research and planning departments, along with
brand managers, will generally examine the
results of return on investment (ROI) models to
aid in planning for next year. Not all advertisers
do this, but most national advertisers expect
this type of evaluation and agencies are held
accountable.
Broadcast, print, and online media segments
commonly use post-campaign software tools to
evaluate advertising results and determine
budget allocations. Independent, third-party
evaluations can add credibility to an advertising
campaign by providing unbiased accountability.
Many advertising agencies along with broadcast
and print media companies use third-party
services to help evaluate advertising executions
for future decision making.
10

[PLANNING FOR OUT OF HOME MEDIA]
[UNDERSTANDING PLAN OBJECTIVES]
The first step in preparing an out of home
media plan is to have an understanding of a
brand’s marketing, advertising, and media
goals. Understanding objectives will help the
media planner make a more targeted and relevant
purchase, thus increasing the buy’s efficiency.
To achieve the most effective media
mix, a planner must also understand the benefits
of each possible medium. While the out of
home medium can perform an array of marketing
and advertising tasks, some significant
strengths include its ability to:
• Rapidly build and maintain market presence
by achieving large audience exposure with
broad reach and high frequency on a local,
regional, or national basis.
• Deliver cost-efficient impressions, which are
generally higher than many other advertising
media.
• Target prospects geographically or demographically
in their neighborhoods, with flexibility
and speed.
• Reach consumers on the move who are driving,
walking, or shopping – on their way to
work, school, or other daily activities – so the
advertising messages can influence consumers
in a relevant and timely manner.
Source: Scarborough USA+ 2008 release 2. 12 months | Base: United States residents aged 18 or older.
100%
80%
60%
40%
20%
0%
Outdoor
Media reach
96%
Commuters
61%
Pedestrians
70%
Television
• Reach younger, more affluent target groups,
whose mobile lifestyle make them hard to
reach through broadcast or print media.
• Enhance the efficiencies of other media.
[MAKING STRATEGIC CHOICES]
With clear objectives in mind, a planner can
evaluate the varied strategic benefits the out
of home medium offers, and make choices to
best achieve the media plan objectives.
Out of home advertising functions as the
bridge between mobility and sale. It influences
consumers when they are away from home and
most likely to make purchase decisions. Out of
home advertising reaches 96 percent of
Americans – more than any other advertising
medium. Out of home continually intercepts
consumers where they live, work, shop, and
play to deliver a recent and consistent advertising
message as they travel. With repeated
familiarity, exposure, and retention, out of
home advertising helps consumers make a
choice at the point of decision.
Build Awareness
Because consumers tend to travel the same
routes on a daily basis, out of home media can
generate high awareness levels in a short period
of time. This accounts for the frequent use
of the medium to launch new products or services.
95%
91%
Radio
Newspapers
71%
Internet
67%
11

Dominant Market Presence
Often large and assertive in form, the out of
home medium provides important benefits:
Size: Imposing presence for visual impact.
Color: Draws attention with eye-catching
images.
Brevity: Delivers quick bursts of essential information.
[THE MEDIA MIX]
Out of home advertising works to enhance the
overall effectiveness of a media mix by broadening
reach and frequency while bridging the
gap between advertising messages delivered
inside the home and purchases made outside
the home.
Television
Since its introduction in the late 1940s, television
has been widely accepted into Americans’
homes as a source of news, information, and
entertainment.
Light television viewers are a difficult demographic
to reach, a serious concern given this
group is characterized as being younger, more
active, and more affluent than the general population.
Television’s combination of sight,
sound, and motion make it a formidable advertising
medium.
Today, many viewers consume a limited amount
of television while digital video recorders
(DVRs) have shifted habits toward ad avoidance.
Light television viewers comprise 40 percent
of the total television audience, spending
less than 90 minutes per day watching TV
between the hours of 6:00 AM and midnight.
Big market stations remain critical to broadcast
networks, despite an increasing reliance on
digital and online content distribution. For
dozens of major independent station group
owners, local television is their core business
and revenue source. With broadcast networks
selling programs directly to cable and new digital
media outlets, and as broadcast networks
rely more on online sites, digital platforms and
devices to distribute programs, local stations
have faced a dilution of the affiliate brand.
The high capital cost, declining revenues, and
tighter margins have become increasingly
apparent among television stations. Local TV
station owners are under pressure to modify
high-cost legacy structures, leverage their
unique local content and connections, and
engage in new digital enterprises to collectively
offset traditional ad declines.
Television Benefits
• Wide geographic coverage
• Broad audience reach
• Perceived accountability with well accepted
audience measurement metrics
• Relative ease of buying and post-buy maintenance
• Proven success record for promoting mass
consumer products
Television Disadvantages
• Audience share is generally declining due to
fragmented audiences
• Increasing use of DVRs diminishes the
impact of commercials
• Many television shows skew older and lower
income
• Typically high CPM costs and rising production
costs
• Primetime is no longer the preeminent reach
builder with a large part of the viewing population
not substantially reached by the primetime
networks
• Increasing ad clutter as commercial pods
lengthen
Broadcast Television and Out of Home
Out of home reinforces television messages
when viewers are away from their homes during
the course of daily activities.
Out of home minimizes wasted coverage and
improves an advertiser’s campaign by providing
the ability to target ad messages geographically.
Television is expensive. Out of home improves
12

the efficiency of a television campaign buy by
driving down CPM costs.
Out of home reaches light TV viewers who are
younger, mobile, and more affluent than heavy
TV viewers.
Cable Television
In 1980, cable viewing was minimal compared
to network television viewing. Today, cable television
offers considerably more targeting
capabilities than broadcast television, allowing
advertisers to reach specific consumer groups
according to their programming interests and
preferences. The average cable home has
access to 120 channels with nearly 3,000 programs
available each week.
The cable industry faces new challenges. The
growth in available channels and programming
has lead to unprecedented broadcast audience
fragmentation making it increasingly difficult
for brands to effectively reach sizable television
audiences without excessive ad spending.
Direct-broadcast satellite (DBS) technology
has captured millions of subscribers, significantly
reducing the reach of cable advertisers.
Moreover, digital broadcasting television has
furthered audience fragmentation among cable
operators.
Cable Television Benefits
• Penetration of 90 percent of US households
• Typically lower CPM costs compared to
broadcast television with similar benefits
• Greater targeting capabilities compared to
broadcast television
• Programming available in all time periods
• Original cable television programming comprises
67 percent of all content
Cable Television Disadvantages
• Smaller audiences than broadcast television
• Excessive fragmentation producing relatively
small audiences for many channels
• A greater number of commercials per hour
compared to broadcast television
Cable Television and Out of Home
The combination of out of home and cable tele-
vision offers advertisers similar benefits to the
combination of out of home and broadcast television.
Out of home reinforces television messages
when viewers are away from their homes
during the course of daily activities.
Cable television delivers relatively small but
targeted audiences compared to broadcast television.
Out of home improves cable television’s
delivery by improving the overall reach
of a campaign.
Out of home offers localized media reinforcement
of cable television advertising.
Internet
Internet advertising began in the mid-nineties
and since then has been the fastest growing
media segment. According to Magna Insights,
nearly 100 million US households have Internet
access today and over 90 percent of those
households use broadband. The average user
spends over 25 hours online per week. As a
result, the Internet represents one-third of daily
media use, according to The Media Audit.
While new Internet ad options continue to
evolve, the value of traditional banner ads is
debatable as click through rates stay low.
Individuals are using social networking platforms
where users generally hold negative
views of advertising and consider ads a distraction.
It is difficult to quantify the value of
Internet advertising based on traditional media
measures, and viable integration of advertising
within social networking enterprises has proven
tough to achieve.
Internet Benefits
• Direct response and transactional opportunity
are available to consumers in real-time
• One-to-one marketing any time and any
place
• Long-term reduction of transactional business
costs
Internet Disadvantages
• Limited frequency across millions of websites
with users able to access only a fraction of
13

sites available
• Privacy and security concerns
Internet and Out of Home
Internet and out of home advertising reach similar
audiences. Both market to a younger, educated,
affluent, and mobile audience.
Out of home extends the reach and frequency
of an Internet campaign when users are offline.
The brevity of out of home’s copy is ideal for
driving traffic to a website.
Radio
Driven largely by the increase in the length of
consumer commutes, the number of people listening
to the radio has grown over the last
decade. With varied station formats, listeners
have a wide choice of options to satisfy their
particular preferences. But, listener fragmentation
requires advertisers to buy multiple stations
and formats to accumulate a relatively
large audience reach, offsetting the cost-effectiveness
of radio. The introduction of satellite
radio and MP3 technology has stolen audience
share from radio stations.
While some technology has hindered the reach
of radio listening, other technologies have
enhanced radio’s appeal with consumers. Over
4,500 radio stations stream content online
through local websites, providing a one-on-one
connection with listeners.
Radio Benefits
• Targeting capabilities
• Inexpensive compared to other traditional
broadcast media
• Builds frequency quickly
• Branded promotions offer advertisers
appealing community involvement opportunities
• No seasonal listener erosion
Radio Disadvantages
• No visual component
• Advertisers must buy multiple stations and
formats to accumulate audience reach
• Peak listening is during morning and evening
drive times with relatively low audiences during
other day parts
Radio and Out of Home
The combination of radio and out of home
reaches a mobile audience, offering a balance
of sight and sound.
Radio messages are susceptible to channel
surfing. Out of home can maintain the market
presence of a brand featured on radio after
listeners have switched stations. Radio is considered
a frequency medium and out of home
can increase the reach of a radio campaign by
providing broad market appeal to radio listeners.
Magazines
One of the core benefits magazine publishers
can offer advertisers is the opportunity to use
high production quality to influence core demographic
audiences. But as more consumers are
obtaining information from digital media platforms,
more titles fold, circulation drops, and
newsstand and subscription prices rise, the
opportunities for advertisers to reach consumers
through magazines are shrinking.
According to the Publishers Information
Bureau, the number of advertising pages in top
magazines has dropped 42 percent since 2000.
Magazine Benefits
• High degree of selective targeting based on
demographics, product affinity, or lifestyle
• High production quality
• Focused editorial environment
• Regional editions offer localized targeting
capabilities
Magazine Disadvantages
• Specific issue audience data is not typically
available
• Magazines produce minimal short term
(daily/weekly) reach
• Broad market reach is difficult to achieve
because of niche readership behavior
Magazines and Out of Home
Out of home strengthens an overall magazine
ad campaign by providing a constant presence
in the marketplace.
14

Newspapers
Newspapers play a functional role by providing
news and information. However, for more than
20 years there has been a consistent and
steep decline in the number of Americans who
regularly read a weekday or weekend newspaper.
Many consumers today use online sources
to gather news and information rather than
printed materials. Nearly 100 million homes
have an Internet connection, offering almost
everything found in newspapers, including
national and global news, classified ads, opinions,
entertainment, sports, comics and horoscopes.
Many traditional newspaper advertising
sectors, such as job ads and real estate,
have also moved online.
Advertisers in big cities have plenty of options
to reach consumers, and newspapers are one
of the most expensive. Newspapers can charge
as much as $25 for every 1,000 people who
might see an ad covering a half page.
According to The Media Audit, those who
spend more than an hour per day reading
newspapers spend 3.7 hours per day online.
Internet newspaper reading represents almost
30 percent of time spent with newspapers.
A survey by the Pew Research Center asked
readers if they would feel the loss of either
print or online versions of their local newspaper.
Forty-two percent said they would not miss
their city paper much, or at all. Twenty-six percent
didn’t think the loss would hurt civic life in
their communities, and nearly 30 percent said
there would be other ways to get news if their
local paper shut down.
Newspaper Benefits
• Broad reach within a defined market area
• Newspaper offers targeting capability with
regional delivery and special advertising sections
• Geographic selectivity is available in small
towns
• Marketplace for competitive price shopping
Newspaper Disadvantages
• Decreasing market penetration and readership
with many newspapers reaching less than
50 percent penetration
• Low younger audience (18-24) readership
• Costly frequency medium
• Some ad recall studies show less than 50
percent of newspaper readers recall noting ads
• Ad clutter
Newspaper and Out of Home
Out of home can resolve some of newspaper’s
distribution shortcomings by offering selective
targeting. Out of home penetrates newspaper
zones that are too large for reaching neighborhood
target areas.
Newspapers have a short shelf life. Out of
home can extend the life of a newspaper campaign
by presenting ad messages in a marketplace
24 hours per day, seven days per week.
Readership rates are declining and will likely
continue due to increasing numbers of alternate
news sources. Out of home’s very nature
is unavoidable and impacts consumers lost to
other source options.
Cost-Efficiency
Out of home advertising is one of the most
cost-efficient media formats. Its ability to deliver
specific target audiences at low costs makes
it a valuable addition to virtually any media mix
– to amplify impressions and stretch media dollars.
Although it is generally true that any medium
added to a media mix will improve reach and
frequency, out of home does so more effectively,
primarily due to its low CPM.
Flexibility and Mobility
Considerable flexibility can be used with out of
home advertising, either geographically or
demographically. Advertising content can be
tailored to product distribution patterns, or
audience concentrations. Panels can be moved
around (rotated) within a market, based on a
predetermined schedule to ensure maximum
coverage of that market.
15

Quick Placement
In most markets, it is possible to arrange special
weekly placement of advertising messages,
or another custom time frame, as opposed to
the more traditional four week cycle. This flexibility
is valuable when timing of ad messages is
critical or when local advertisers have limited
media funds.
[THE OUT OF HOME AUDIENCE]
According to Arbitron, the out of home advertising
audience skews male, and is comprised
mostly of young and middle-aged adults in high
income households.
Targeting the Out of Home Audience
A target audience is a segment of a population
that comprises the best potential consumers of
an advertiser’s product or service. The most
common way to define target audiences
involves basic demographics such as age, race,
sex, income, education, occupation and geographic
region. These demographics can be
targeted using a panel’s unique demographic
profile created by EYES ON ratings (see Out
of Home Audience Measurement).
16

[BUYING OUT OF HOME MEDIA]
For more information visit
https://www.oaaa.org/marketingresources/industrystandardsandpractices.aspx
[PREPARING TO BUY]
The standard steps for pre-buy and post-buy
analysis for out of home advertising differ from
other media because out of home advertising
reaches moving audiences in different ways
from market to market.
It is valuable to know about some useful services
available to a buyer.
Out of Home Media Department
Many large advertising agencies, or those
engaging in a substantial amount of out of
home media buying for clients, have established
groups or departments specializing in
planning for out of home media. They contain
personnel knowledgeable in planning and buying
out of home media and have established
long term relationships with plant operators. It
is the responsibility of the advertising agency’s
media department to determine the out of
home planning objectives and buying parameters.
Out of Home Placement Specialists
There are two different out of home media
placement specialists:
1. Those who work with and are compensated
by advertising agencies.
2. Those who work as representatives for plant
operators and are compensated by the plant
operators.
In both cases, the out of home placement specialists
are chosen for their expertise in planning
and monitoring out of home advertising
campaigns. They most often are used to make
buys for clients not familiar with the medium.
Standard services include media planning, contract
negotiation and buying, contract administration,
assistance with production, and centralized
billing. Field activities, such as location
selection, scheduling, and post-buy monitoring
of campaigns are other common services.
Co-op (Cooperative) Advertising
Co-op advertising is when the advertising
costs are shared between a manufacturer or
advertiser and a distributor or retailer. This
practice is widely used by out of home advertisers.
There are firms which specialize in co-op
marketing. These companies provide sales
leads for out of home vendors and coordinate
production arrangements.
[STEPS FOR MAKING THE MEDIA
PURCHASE]
Establishing Geographic Market Definitions
After a target audience has been identified, the
next step is to determine the scope of the market(s).
This is necessary to best define the
types of out of home media to use for a campaign
and should be as specific as possible.
A clear geographic market definition is important
to ensure an advertising campaign properly
covers the desired areas where the target
audience can be reached most effectively. Not
all out of home media formats are available in
all markets. The depth of coverage of a specific
format may also vary by market.
In out of home advertising, the most frequently
used market definitions are DMA, CBSA,
county, and PDM.
DMA (Designated Market Area)
A rigidly defined geographic area used to identify
television stations that best reach an area
and attract the most viewers. A DMA consists
of all zip codes where the largest viewing share
is given to stations of that same market area.
Non-overlapping DMAs cover the entire continental
United States, Hawaii, and parts of
Alaska.
CBSA (Core Based Statistical Area)
Commonly used for radio, a CBSA is a US
17

Census Bureau defined area used to provide a
nationally consistent set of geographic entities
for the United States and Puerto Rico for use
in tabulating and presenting statistical data.
CBSAs consist of a county or counties, or
equivalent entities, associated with at least
one core (urbanized area or urban cluster) of at
least 10,000 in population, plus adjacent counties
having a high degree of social and economic
integration with the core as measured
through commuting ties with the counties containing
the core.
The term CBSA became effective in 2003 and
refers collectively to metropolitan statistical
areas and micropolitan statistical areas.
County
The primary legal divisions of most states are
termed counties. In Louisiana, these divisions
are known as parishes.
In Alaska, which has no counties, the equivalent
entities are the organized boroughs, city
and boroughs, municipalities, and census areas.
In four states (Maryland, Missouri, Nevada,
and Virginia), there are one or more incorporated
places that are independent of any county
organization and thus constitute primary divisions
of their states. These incorporated places
are known as independent cities and are treated
as equivalent entities.
The District of Columbia and Guam have no
primary divisions, and each area is considered
an equivalent entity.
PDM (Plant Defined Market)
PDMs are custom geographic areas defined by
a local out of home plant operator’s area of
distribution and are based on the accumulation
of full county populations.
Media Mix Markets
Different geographic definitions are used by
various media sectors. Coordinating with the
geographic nomenclature of other media sectors
and customer groups is critical when considering
a mixed media campaign.
Determine Plant Coverage
A planner should review and assess the total
market area covered by each plant operator,
especially where competing plants operate
within the same market area. In some cases, a
secondary or tertiary plant may be needed to
achieve complete market penetration. Planners
can consult TAB for precise coverage information.
Review Market Availability
Most US markets have one or more out of
home media formats available, but not all formats
are available in every market. Each format
has different strengths when considering
markets.
Availability refers to out of home advertising
currently available for sale in a market. It is
important to be very specific about scheduling
available locations. Prevailing market situations
can change quickly, so it is advisable to secure
commitments in writing from plant operators.
Individual operators are the best source for
availability information, as well as standard
rates.
Philadelphia DMA Philadelphia CBSA Philadelphia County
18

Some key questions to consider regarding
availability are:
• Are the out of home formats that best suit
the media plan objectives available in the
desired market(s)?
• If not, are there alternative formats available?
• What are the production costs associated
with each format?
• How often will the campaign need to be
reposted and what are the associated posting
and production fees?
[THE BUYING PROCESS]
Once the details are complete, a planner can
proceed to the actual buying of out of home
media: selection, negotiation, and contract
decisions. A thorough knowledge of the many
out of home formats, their characteristics, and
market penetration will help ensure favorable
results.
Evaluate Plants and Negotiate the Buy
A final media assessment and recommendation
can be formulated once the final costs for a
program have been negotiated with each seller
or their agent. Plants should have been evaluated
based on coverage and the specific locations
offered. In some cases, more than one
plant operator in a market may be selected.
Contracting
An important part of the contracting process is
to negotiate maintenance, cancellation, and
other relevant details before the contract is
finalized. Any number of unavoidable factors
might affect the program: storm damage, electrical
outages, strikes, or accidents. Know how
you will be compensated for lost campaign
days. Many plant operators accommodate for
an unforeseen event in standard contract language.
Inform the Production Department
A planner should be sure all of the individuals
involved in an out of home program fully understand
the production instructions, including the
necessary allowances for delivery lead time.
Production specifications should be carefully
checked and deadlines reconfirmed for delivery
of art and display material. Standard production
specifications are outlined in the
Production section of this document. Always
consult with individual plant operators to confirm
the advertiser or agency instructions meet
their requirements. A missed production deadline
is a common cause of a delayed out of
home campaign. Meeting production deadlines
are the responsibility of the advertiser or
agency.
[POST-BUY ANALYSIS]
After an out of home media campaign is
launched, the out of home operator should provide
a proof of performance report, providing
detailed information about the execution of the
campaign. OAAA and the American
Association of Advertising Agencies (AAAA)
mutually endorse standardized completion
reporting practices. Most companies have
online proof of performance, allowing buyers
and sellers of the out of home medium the ability
to communicate vital information quickly
and seamlessly.
Reconcile Billing
Consult with a plant operator or representative
as soon as the campaign has launched. Note
any deficiencies in the physical locations or circulation
guaranteed. Negotiate if adjustments
are justified.
Assess Reactions in the Market
Review local sales reports, discuss the program
with dealers and distributors for reactions to
the advertising, and note any competitive activity.
Where justified, consumer surveys can be
conducted to measure awareness and attitudes
toward the campaign.
Research Follow-Up
If any research has been conducted, be certain
that the after-market exposure phase of the
program is carefully measured immediately following
the completion of the campaign to capture
the most accurate data.
19

[EFFECTIVENESS]
For more information visit https://www.oaaa.org/marketingresources/research.aspx
According to Marketing Consultant James M. noticed an ad message on it (or 39 percent of
Maskulka, “Traditional media are effective in travelers who noticed a taxi).
building brands, but changes in
consumer lifestyles coupled with an
increasingly cluttered media envi-
% Adults Who Strongly/Somewhat Agree Ads Are Noticeable
0% 20% 40% 60% 80% 100%
ronment and technological improvements in
producing outdoor designs, have collectively
elevated the status of the outdoor medium to
help build ‘brands’ and ‘sales’ as never
before.”
TV
Billboard
Magazine
Movie theater
Internet
85%
79%
79%
77%
76%
Grocery stores
Out of home is one of the most noticeable
Radio
forms of advertising. According to the Arbitron Newspaper
In-Car Study, 71 percent of travelers often Outside of buses
look at the messages on roadside billboards
Malls
and more than one-third (37%) report
Sports stadium
looking at an outdoor ad each or
Gas station pump toppers
most of the time they pass one.
Airport
76%
74%
74%
72%
65%
61%
58%
55%
Taxi Tops
Fifty-nine percent of travelers aged 18 or older
Bus shelter
have noticed a public bus, not
Digital at mass merchandisers
including a school bus, in the
Bar/pub
past week and 39 percent have noticed an
Event marketing
advertising message on a bus
Posters in public bathrooms
(that equals 66 percent of all
Phone kiosks
travelers who noticed a bus).
Posters in gyms
53%
52%
49%
45%
38%
38%
33%
30%
Nearly half of travelers noticed a bus According to the Posterscope Out of Home Consumer Survey, of all
shelter in the past week and 21 percent tested forms of advertising, billboards are the second most notice-
of them noted an ad on it (that is 44 able to adults. Ads in movie theaters and in grocery stores perform
percent of travelers who noticed a bus
shelter). Taxi cabs have been spotted by
well also.
38 percent of travelers and 15 percent of them Out of home advertising viewers recall seeing a
wide range of actionable information,
“At any time in the past week, have you noticed a... including stores and restaurants they
0% 20% 40% 60% 80%
later visited, radio and TV programs
they were interested in, events they
wanted to attend, or something funny
… roadside billboard?"
37%
they shared with friends later that day.
More than half of viewers aged 18 or
bus?"
39%
older have learned about an event
they were interested in attending
… bus shelter?"
21%
(58%), learned about a restaurant they
later visited (58%), or talked about
something funny they saw (56%) on a
… taxi cab?"
15%
roadside billboard. More than one-
… public bus, not including a school school
"And did you also notice any advertising on any of those…?"
20

third of viewers have been
reminded to tune into a TV program
(33%) or a radio station
(44%); and more than one-quarter
of viewers have noted a phone
number (26%) or web site
address (28%) written on an out
of home ad.
Out of home advertising also
drives sales. Nearly three-quarters
of billboard viewers shop on
their way home from work; more
than two-thirds make their shopping
decisions while in the car and
more than one-third make the
decision to stop at the store while
on their way home -- all times
when out of home advertising has
the opportunity to be influential.
Nearly one-quarter of billboard viewers say
they were motivated to visit a particular store
that day because of an out of home ad message
and nearly one-third visited a retailer they
saw on a billboard later that week. Half of
viewers reported receiving directional information
from a billboard and one-quarter said they
immediately visited a business because of an
out of home ad message.
[RESEARCHING OUT OF HOME
EFFECTIVENESS]
Out of home advertising effectiveness can be
evaluated using a number of different methods
frequently employed by other media.
The most common methods for testing an individual’s
memory of advertisements are recognition
and recall. The difference lies in cueing
material used to prompt memory. Recognition
involves a visual prompt of an advertisement,
while recall involves a verbal description of the
ad.
When considering methodologies for testing
out of home media effectiveness, visual recognition
is preferred, as out of home is a visual
On a roadside billboard, have you ever...
… seen something funny that you
talked about with others?
… learned about an event you were
interested in?
… learned about a store that you later
visited?
… learned about a restaurant that you
later visited?
… noted a phone number?
… noted a website address?
… learned about or been reminded to
listen to a radio station?
… learned about or been reminded to
watch a television program?
medium.
0% 20% 40% 60% 80%
26%
28%
33%
44%
Variables for Testing
Key considerations for testing out of home
media are: creative messages, campaign variables,
promotion components, and the overall
media plan. There are several questions to consider
when designing an out of home recognition
test.
Brand
• What is the category position (growing,
mature, declining)?
• What is the brand’s status in its category?
• Are there any seasonal factors?
• Is there any special positioning (e.g. price,
image)?
• Is the product distributed regionally or
nationally?
• What is the product’s distribution in the market(s)
being considered for testing?
• What is the brand and category development
of the product in these markets?
Campaign
• Is it new or continuing?
• Is the message consistent in all media or
variable?
• What are the key copy points and product
benefits?
• What are the campaign objectives (e.g.
50%
56%
58%
58%
21

and awareness, brand switch, product benefits)?
• What is the target market?
• Is it a national, regional, or local campaign?
Competition
• What other competing brands are running in
the same market(s)?
• Which media are being used by the competition?
• What is the position of the competition in
each market?
• What is the media weight being used by
competitors?
• What are the specific product benefits being
promoted in the competitors’ media strategy?
Creative
• Is it new creative?
• Is it an offshoot of creative for other media?
• How long since the last creative ran?
• How similar or dissimilar is a new campaign
to previous creative executions?
• What does the creative look like?
• What is the main message point?
• Is there a theme or tagline?
• Is it easy to understand or is it complex?
• Are there different executions or are they all
the same?
• Is the campaign single-minded and focused?
• Are there less than three communication elements
in each execution?
• Is text copy legible?
Media
• When is the program going to start?
• What out of home formats are being used?
• What is the planned length of the program?
• What types of flights are planned, or is the
campaign continuous?
• What types of weight levels are allocated to
each medium?
• What is the budget for each medium?
• What is the budget for the whole campaign?
• Is spot media to be used in select markets,
and if so, which markets?
• What type of out of home campaign is
planned (e.g. GRP level, number of weeks)?
Promotion
• What merchandising support is planned?
• Are there coupon or FSI opportunities?
• Are there in-store promotions?
• Is there trade activity?
• Are there sampling opportunities?
22

Planning for OOH Media
[SUCCESS
STORIES]
There have been thousands of successful out of home campaigns
– some using the medium by itself, and others as part of an
integrated media mix. The following are a sampling of some of
the best. For more case studies visit
https://www.oaaa.org/creativeresources/casestudies/
23

[KRAFT STOVE TOP]
Kraft Stove Top stuffing has been a classic
American comfort food for decades. The campaign
challenge was to keep consumers’ love
for Stove Top top-of-mind to drive sales volume
during the key December sales period.
Objective:
When the temperature plunges in the cold winter
months, there is nothing better than coming
home to the comfort and warmth of Stove Top
stuffing. Although Stove Top is well-established
as a part of holiday meals, Kraft needed the
average consumer to view Stove Top as a
viable everyday solution. The campaign needed
to maximize a small budget and provide consumers
with a daily reminder of their love for
Stove Top.
Strategy:
The strategy was to give consumers the “gift
of warmth” on cold days and make Stove Top
the hero. To bring this idea to life, the media
agency created the first ever heated bus shelter
campaign, installing heating elements in
bus shelters to give consumers a physical
reminder of the comfort Stove Top provides.
Plan Details:
Stove Top installed heaters in 10 bus shelters
in Chicago to bring consumers warmth during
the cold winter. The heated bus shelters were
placed in high-traffic commuter and shopping
areas, creating a winter oasis for pedestrian
traffic while also providing brand visibility to
vehicular traffic. As consumers waited for the
bus and thought of their dinner plans, they
were warmed in a shelter wrapped in Stove Top
messaging.
Kraft used sampling to further extend Stove
Top’s gift of warmth, employing brand ambassadors
to hand out new Stove Top Quick Cups
near the heated bus shelters. The media
agency also activated a national PR campaign
to spread the news of what was happening in
Chicago, leveraging the value of launching the
first ever ad-sponsored heated bus shelters to
drive additional media exposure.
Results:
Stove Top’s bus shelter campaign was picked
up by the New York Times, Fox Business
Network, Advertising Age, and all major
Chicago media outlets, resulting in over 37.2
million media impressions. The campaign was
featured in Advertising Age’s Top Five Creative
List for the week of December 15 and was
honored as one of the New York Times’ Best
of 2008 marketing programs.
The campaign was honored with a Bronze Lion
in the 2009 Cannes Media Awards, the only
United States campaign recognized in the Out
of Home category.
The campaign also won the 2009 Local Out of
Home Media Plan Award.
24

[UNITED STATES NAVY]
In the spring of 2008, NAVYForMoms.com was
launched as a social
networking website
designed to give
moms, dads, relatives,
and friends
who have loved
ones in the Navy a
place to gather
accurate information,
share stories,
and gain support from their
peers. In addition, the site is an
information resource for parents
of young men and women considering
joining the Navy.
The website allows parents to
share what great things their children
are doing in the US Navy.
Members contribute to discussion forums,
lending advice to each other and sharing their
stories, photos, and memorable moments.
Objective:
The overall objective in all markets was to promote
the NAVYForMoms website and to reach
parents, especially moms, by using traditional
and nontraditional out of home media formats.
In two markets, there were secondary objectives.
In New York, the campaign would celebrate
the Navy’s birthday on October 13th,
Veteran’s Day and the return of the Intrepid
Museum.
In Oklahoma City, the campaign needed to promote
events related to “Navy Week” (June 12-
20, 2009).
Strategy:
In New York, the US Navy
employed domination efforts to
highlight notable events in
October and November
2008. Oversized bulletins
in Times Square
posted a tease and
reveal message to wish
the Navy a Happy
Birthday, while street
teams at Grand Central
Station and the
Columbus Day parade
promoted the website
as well as the return of
the Intrepid Museum.
In Oklahoma City, the US Navy organized a
number of promotional events and sponsorships
in support of Navy Week, including street
teams, free rickshaw rides, and Navy Night at
AT&T Ballpark.
Plan Details:
New England
Markets: Boston, Hartford, New Haven
Flight Dates: March - April 2008
Out of Home Formats Used: Building projections,
mobile projections, mall murals, mall projection
displays, transit station dominations,
subway tunnel displays, street teams
New York City
Flight Dates: October - November 2008
Out of Home Formats Used: Bulletins, spectaculars,
bus wraps, bus posters, transit shelters,
transit station dominations, subway tunnel displays,
taxi staging events, street teams
25

Dallas
Flight Dates: May 2009
Out of Home Formats Used: Wallscapes, bus
wraps, street kiosks, stadium signage,
mallscapes and mall displays including interactive
in-window displays, amusement park domination,
street teams and events (i.e. Navy Day
at Arlington Ballpark on Memorial Day)
Oklahoma City
Flight Dates: June 2009
Out of Home Formats Used: Projection media,
sidewalk stencils, water tower wrap, mall displays
including interactive in-window displays,
rickshaws, water taxis, street teams and
events (i.e. Navy Week including Navy Night at
AT&T Ballpark)
Results:
This campaign received lots of positive feedback
and results on the NAVYForMoms website,
post-campaign research and media publications.
In its first year the website reached
nearly 20,000 members. As of May 2009, the
percentage of the site traffic referred via typing
in the URL directly increased to 32 percent,
a sign that in-market advertising was being
remembered.
After the completion of the New England campaign,
moms favorable to enlistment increased
by 25 percent and the landmark lightings in the
New England markets received television and
newspaper coverage. After the New York City
campaign, interest in visiting the website more
than doubled among moms, from 8 percent to
18 percent. Midway through the Oklahoma
City campaign, the earned media coverage
results were as follows: 585 hits across 59
print, 11 TV, 258 radio, and 288 online outlets.
This campaign won the 2009 National Out of
Home Media Plan Award.
26

[CARNIVAL CRUISE LINES]
Carnival Cruise Lines has passengers from all
over the United States. But given the economy
and the aggravation associated with airline
travel (fewer or fuller
flights, higher prices,
extra fees, etc.),
Carnival decided to sail
from more regional ports
around the US, expanding
to 14 ports including
Baltimore. This move
made Carnival cruises
accessible to more people
without having to
deal with the hassle of airline travel. The company
capitalized on this strategic advantage by
developing a media plan that would focus on
markets in relative proximity to each of these
departure ports. Out of home was the backbone
of this plan.
Objective:
Carnival’s single largest bottleneck in the purchase
funnel was its brand perception. The
agency hypothesized that if Carnival could
shake things up for consumers and allow them
to feel the kind of real, honest, “Fun for All”
that people experience on Carnival, they’d not
only be able to move the needle on consideration,
they’d move the sales needle too.
The agency identified a target group of consumers
dubbed “the Spirited.” The Spirited
thrive in large social situations and love to
meet new people. With the Spirited in mind,
the campaign developed into a holistic plan
that could launch a new brand identity with digital
video, cinema, television, out of home, and
events while still allowing flexibility to tactically
support national sales
initiatives, drive online
bookings, and strategically
support major
drive-to-port markets to
reinforce the value and
convenience of a
Carnival cruise.
Strategy:
The overall strategy for
out of home was to generate
strong, marketwide impact with high-profile
placements and create interplay with other
media channels for a deeper “surround” effect.
Out of home placements were located where
consumers are most receptive to Carnival’s
message. Each market had a unique footprint
from the demographic, social, and economic
perspective which the media placements needed
to reflect.
The campaign launched by turning the production
of two TV spots into local market events.
The “Fun Crowd Events” took place in Dallas
and Philadelphia where Carnival set two
Guinness World Records in two weeks – one
for the world’s largest beach ball, the other for
the world’s largest piñata. To drive traffic to
the events, each market had dominant oneweek
media blitzes through a mix of media
including digital bulletins and street teams.
Thousands of people showed up at the events
where they had the opportunity to be part of
the filming of the Carnival commercials, as well
as enjoy food, refreshments, a karaoke “fun
booth,” and a line-up of entertainers from
Carnival ships.
The second phase of the campaign was injecting
fun in places not typically “fun”: a taxi cab,
the train station, a traffic jam, etc. An 11 market
out of home campaign blanketed the driveto-port
markets, incorporating six digital bulletin
networks to offer messaging flexibility;
27

three Amtrak terminal dominations in
Philadelphia, Baltimore, and Washington, DC;
digital video and storefront displays; and the
largest billboard ever posted in Baltimore. The
campaign also included a national cinema presence
where the completed “Fun Crowd” TV
spots premiered.
Train station dominations included a giant
Twister Mat and a custom-made kiosk with a
spinner. Six of the markets featured Carnival
Interactive Aquariums in vacant storefronts,
allowing pedestrians to not only physically
interact with the cartoon sealife, but also dial
in to create their own personalized fish by making
different noises in their phones (and providing
data for follow-up marketing). Once created,
the new fish could be navigated through
the tank by the users’ phone keypads.
Carnival also introduced “Towel Animal
Theater” video on taxi screens. A signature of
Carnival cruises are the towel animals the
cabin stewards create every evening. “Towel
Animal Theater” tapped into this quirk through
a series of 15 second towel animal “conversations”
that take place while guests are away
from their rooms. The initiative became an
instant social media success, with the “Swans”
video delivering over 3 million hits on YouTube
alone.
Plan Details:
Markets: Austin, Baltimore, Dallas, Houston,
Las Vegas, Los Angeles, New York City,
Philadelphia, San Antonio, San Diego,
Washington DC
Flight Dates: December 2008 - April 2009
Out of Home Formats Used: Traditional bulletins,
digital bulletins, transit/street kiosks,
station dominations, taxi TV, storefront displays,
cinema spots (national), “Fun Crowd
Events”
Results:
Carnival Cruise Lines attracted thousands of
participants to the “Fun Crowd Events” and
tapped into the viral nature of digital video,
generating significant buzz about the company.
The cruise line recorded the highest number of
weekly bookings in company history just after
the campaign launched, despite a sagging
economy and overall travel industry slump.
The campaign won a 2009 Gold Out of Home
Media Plan Award.
28

[DENVER ZOO]
Denver Zoo is an internationally respected
leader in animal care and exhibition, conservation
programs, scientific study, environmental
education, and public service. Its mission is to
provide wildlife conservancy that
offers high-quality experiences in
an urban recreational
setting.
However,
entering into
2007, the zoo
was experiencing
declining
attendance and
needed to find
ways to rebound back to target
levels. The challenge was to not
only effectively reach the traditional
moms and kids target in
the Denver market, but key
community influencers as well.
As a result, the media strategy
was largely based on connecting
with these audience segments
at the most relevant
touch points during their daily
routines. Lifestyle and leisure activity trigger
points served as a compass for media selection.
Historically, other media such as TV, radio, and
print served as the foundation to create high
visibility. However, in 2007, a new media-mix
strategy also integrated grassroots tactics to
create stronger awareness and recall by interacting
and educating on a more intimate level.
These tactics were focused around out of home
locations that were fun and educational to
heighten relevance with the target, while
breaking through clutter with unique creative
placements.
Objective:
The advertising objective was to communicate
that every visit to the Denver Zoo promises a
fun educational experience and helps Denver
Zoo in its worldwide wildlife preservation
efforts. Specific marketing objectives were to
increase attendance to 1.4 million visitors and
raise awareness of preservation and fundraising
efforts with key influencers and community
leaders.
Strategy:
Zoo awareness
was already at relatively
high levels
in the Denver
Metro, so the
campaign needed
to engage potential
visitors at key
interception points
when moms and
kids were in the
mindset of exploring
family activities in order to motivate
spontaneous visits. To effectively reach
the “influencer” target, the agency identified
their relevant lifestyle/behavioral
characteristics such as serving on
boards and committees, engaging in
fundraising, constantly learning, and
being socially responsible and concerned
about the environment.
The plan integrated grassroots out of home
tactics, in addition to other media to create
stronger awareness and recall. High-profile out
of home and non-traditional media were used
to showcase the Denver Zoo’s campaign and
hone in on areas with high concentrations of
parents and children.
Plan Details:
The plan was focused in the greater Denver
metro area and was scheduled from June
through December 2007. Various tactics included:
• Traditional bulletin signage (14’ x 48’), king
and queen-sized bus posters as well as curbside
posters on bus shelters.
• Downtown window signage was used as part
of the Downtown Denver “BID” programs
29

(Business-in-Development) which allows nonprofit
advertisers to display ads while buildings
are being restored or renovated.
• Rickshaw signage created visibility at popular
summer locations downtown including Rockies
baseball games at Coors Field, Elitch Gardens
Amusement Park, and the 16th Street Outdoor
Mall. The non-motorized rickshaws drew attention
to Denver Zoo’s preservation/ “green”
efforts.
• Denver Zoo animal chalk drawings were created
by local artists at festivals such as
Larimer Square La Piazza dell’ Arte.
• Barricades and backlit kiosks in malls provided
extra touch points and targeted locations
near family-focused retail stores.
• School bus advertising allowed the Denver
Zoo to show its support of education.
• Light post banners in cultural areas increased
Denver Zoo’s visibility among families and
community leaders.
• Coffee sleeves advertising was placed in
select cafes/community-based businesses to
educate influencers about Denver Zoo’s
preservation efforts.
Results:
Based on 2007 year end attendance numbers,
Denver Zoo’s annual goals were exceeded with
1,672,018 visitors recorded during the year – a
20 percent increase over the goal.
In addition, the zoo’s direct mail effort saw the
highest response rate in Denver Zoo’s history
and donations to preservation efforts increased
10-15 percent. Overall, the 2007 campaign was
deemed a success and Denver Zoo continued
its efforts in 2008.
The campaign won the 2008 Local Out of
Home Media Plan Award.
30

[ADIDAS NBA ALL STAR GAME]
adidas had just completed negotiations to be
an official NBA sponsor for the next 11 years.
In addition, the Las Vegas market is home to a
proprietary adidas store on the famous Las
Vegas Strip.
Objective:
The campaign’s primary goal was to announce
and promote adidas’ partnership with the NBA.
adidas also needed to drive traffic and sales
among NBA All-Star Game attendees to the
adidas sports performance store on Las Vegas
Boulevard.
Strategy:
The key venues where NBA activity was occurring
and where fans were likely to congregate
all fell within a compact area of less than two
miles. The plethora of available out of home
media in this space allowed for an out of home
domination. adidas used attention-grabbing
large scale graphics in combination with high
frequency street level media. The intent was to
target NBA All-Star Game participants, attendees,
and fans from the moment they entered
the city of Las Vegas throughout the weekend.
Plan Details:
Flight Dates: February 15th – February 22nd
2007. The NBA All-Star Game occurred on
February 22, 2007.
Market: Las Vegas, NV
Out of Home Formats Used:
Large wallscapes on the Luxor, MGM Grand,
and Bally’s Hotel, custom-made, oversized adidas
jerseys draped on Lady Liberty Statue
(outside New York New York) and MGM Lion,
vertical banners in airport baggage claim, taxi
tops (both static and digital) on one-third of
existing taxi inventory (over 700 tops), digital
ads outside of, and mall kiosks within Fashion
Show Mall, digital and static signage on MGM
exteriors and within hotel, 29 digital and static
bulletins within the target zone, two mobile billboards,
and video projections on strategic locations.
Results:
“We own the city, you see it everywhere. It’s
fantastic.”
— Erich Stamminger, President and CEO of
adidas
adidas saw an unprecedented 250 percent
jump in single day global sales. Sales exceeded
all previous consecutive five-day records, and
75 national media outlets carried coverage of
or used adidas out of home assets in their coverage.
The campaign won the 2008 National Out of
Home Media Plan Award.
31

[WESTIN HOTELS & RESORTS]
While Westin is a global brand with 152 hotels
and resorts around the world, it has a significantly
smaller footprint compared to its key
competitors –
Hilton, Marriott,
and Hyatt. Westin
has been historically
outspent by
as much as threeto-one
by its competitors.
Objective:
Westin needed a
strategy that
would outsmart the category
leadership and communicate
Westin’s unique hotel experience
to upscale business travelers.
The goals of the campaign
would be to help the brand
maintain a premium position,
while increasing brand awareness
and other key brand health
measures.
Strategy:
Preliminary research indicated Westin consumers
are driven to succeed in their professional
and personal lives, seeking to create and
maintain a “balanced life.” As heavy business
travelers, this balance is disrupted by the
chaotic and de-humanizing travel experience.
Westin’s strategy was to be an oasis of calm in
a sea of chaos – placing its calming renewal
message in high-stress environments.
Plan Details:
Westin transformed the country’s most chaotic
transportation hubs (and the company’s top
five feeder markets) into places of renewal to
demonstrate how Westin hotels can transform
travelers’ hectic lives into a rejuvenating experience.
Using unconventional out of home units,
the company transformed the mundane commute
into an unexpected oasis.
The out of home campaign employed over 270
different executions and 2,754 media placements.
Bulletins along major commuter routes
allowed for 3D executions of Westin’s calming
message. Airport dominations across five key
markets helped travelers relax
in the rushed airport environment.
Subway station dominations,
sub-media, and lenticulars
were used in train and subway
stations to blanket the
chaotic space with serene
nature and vacation images.
Some unique executions included
full-train wraps in
Grand Central station
and a live zen
garden in the center
of San Francisco’s
business district.
Results:
In 2007, Westin
increased revenue
per available room
by 9 percent, while
maintaining its premium positioning. The company
achieved its highest average daily rate in
brand history ($189/night), an increase of 7
percent over the previous year. A post-campaign
study also showed significant lift among
consumers who were aware of the advertising
in top-of-mind awareness (+15%). The
research also showed increases in core brand
health metrics in key markets: “a relaxing place
to stay” (+9%), “a renewing place” (+8%), and
“a place where guests can reach their full
potential” (+8%).
This campaign won a 2008 Gold Out of Home
Media Plan Award.
32

[BLUE CROSS BLUE SHIELD]
BlueCross BlueShield of Tennessee (BCBST)
is the state’s largest health insurance provider
with market share that approaches 50 percent.
In recent years the company has been forced
to address significant new competition, drastic
changes in Medicare programs, deterioration of
TennCare (a state-sponsored health insurance
initiative with which BCBST was associated),
escalating health care costs, and similar issues
that challenged perception of the brand’s leadership
position.
These factors, along with the changing nature
of healthcare and health insurance provided an
opportunity for BCBST to adjust its positioning
not only to maintain loyalty, but to also be perceived
as the leader of positive change in
heath care throughout the state. The company
strategically moved from just “health insurance”
to a “better health” and “better life”
provider.
After two years of in-depth research,
BlueCross BlueShield of Tennessee was ready
to unveil a new brand positioning, “Plans for
better health. Plans for a better life.” to all
major constituents across the state of
Tennessee.
Objective:
“Leading the way to better health” for BCBST
started with focusing on the de-institutionalization
of health insurance through offering personalized
health plans. The specific use of out
of home allowed this strategy to hit the
streets, corners,
and lives of
Tennesseans in different,
innovative
ways. This portion
of the media plan
was highly customized
to the
human traffic flow
in various communities.
BCBST’s overall target
was Adults 18+ in
Tennessee. However,
there are specialized
groups within this target
such as: individual
members, group members,
Medicare members, providers, brokers,
etc. Due to the diversity within BCBST’s target
audience, this external campaign launch
needed to possess high reach and high frequency
to communicate the basic tenets of the
new positioning as quickly as possible.
Strategy:
The media strategy for this campaign was
based on intersecting the brand’s target audience
during their daily lives wherever possible.
This campaign included a broad base of media
outlets, but out of home was essential to intercepting
the audience multiple times a day. The
brand incorporated a variety of out of home
media vehicles to reach our audience on their
daily commute and around town.
The heart of the campaign message was centered
on informing all constituents in healthcare
across the state that they have a role to
play in controlling healthcare costs and achieving
better health. All communications delivered
a call to action for Tennesseans to get involved
in their health and their healthcare.
Plan Details:
Flight Dates: June through December 2006
Markets: Chattanooga, Knoxville, Memphis,
Nashville, Tri-Cities
Budget: $1,050,000
Out of Home Formats:
33

Posters
High-profile posters on major highways,
throughout town, and in suburban areas in
each market were strategically
placed in order to deliver the
highest number of daily impressions.
The plan included poster
executions with a single message
and consecutive executions,
which allowed for an
extended message. Multiple
creative executions were developed
for this format that
included impactful, visuallydriven
imagery with a single
proof point to deliver a product,
service, or health related
message. Consecutive posters
were placed within sight distance
of each other and
allowed for the creative executions
to play off one another
and portray an action and corresponding
results.
Metro Transit
Super king and king bus sides were placed in
all available markets. Two creative executions
were developed for this format that included
“action” imagery with the key message of
“Plans for better health. Plans for a better
life.” The photography was shot showing individuals
from the neck down so the executions
resulted in a “picture” of the individuals riding
the bus as the heads of bodies shown in a specific
“action.” These executions presented an
example of how to think about daily activities
differently.
Bus Shelters
Three creative executions were developed for
bus shelters that brought the viewer into the
key message/action depicted
in the creative. Each concept
was based on the viewer being
able to walk up to the shelter
and see themselves in the
stated message. For example,
one execution showed a section
of the free weights at a
gym with an actual mirror
incorporated into the execution.
The viewer could walk up,
and see themselves standing
in front of the “free weights”
and the key message stated
“gym discounts.” The imagery
was designed to show a slice
of everyday life and relate
back to a service or health
related message presented by
BCBST.
Bus Benches
Three creative executions were developed for
this format, incorporating the bench into the
visual and corresponding message. All photography
was shot in a horizontal format to mimic
the bench and used that element in the visual
to support the key messages such as a massage
table with “spa discounts,” a weight
bench with “gym discounts” and a yoga position
on a mat with “fitness rewards.”
34

Grocery Store Floor Talkers
Floor Talkers were strategically placed in over
300 grocery stores statewide.
The creative consisted of two
flights. The first flight used a
design of an in-home scale with
the tagline, “nutritional guidance.”
The floor talkers were
placed near produce sections,
organic food sections, and other
health food areas. The second
used a design of a blurry eye
chart with the tagline, “LASIK
Discounts.”
Pharmacy Floor Talkers and Counter Cards
Pharmacy formats were placed in independent
pharmacies throughout the state. Executions
were positioned near the pharmacy counters
where people filled prescriptions, encouraging
the use of generic drugs.
Pharmacy Prescription Bags
Pharmacy prescription bags were printed
and distributed to independent pharmacies
throughout the state. The bags included the
line, “Ask for generic. The most common
side effect is saving money”.
Health Club Posters, Mirror Clings and Yoga
Mats
These formats were placed in high traffic
areas, work-out rooms and locker rooms in
health clubs throughout Nashville and
Memphis. The posters included the blurry
eye-chart. The mirror clings and yoga mats
included branding messaging, “the best
health insurance is staying healthy” and
“putting better health at the center of all we
do”.
Results:
A brand attitude and usage study was performed
in early 2007.
Results showed:
• Advertising awareness was 62 percent.
• 66 percent said that the new messaging was
appropriate for the company.
• 48 percent said that the advertising positively
impacted their feelings about BCBST.
Half of BCBST primary customers
and 33 percent of competitive
customers stated that
they will be “influenced” to think
about their own health and
health care differently as a
result of BCBST’s efforts.
Further, the effort scored highly
among corporate health care
decision-makers, and earned
endorsements from health care
and governmental leaders.
The campaign won the 2007 Local Out of
Home Media Plan Award.
35

[CHARLES SCHWAB]
Following the successful launch of its national
“Talk To Chuck” advertising campaign Schwab
needed to build on its momentum and further
distance itself from the competition.
Given the success of the campaign, several of
Schwab’s key competitors had begun to mimic
Schwab’s strategies and tactics in the marketplace,
from a media and messaging perspective.
This included an increased presence by
other financial brands in out of home media, an
area that had played a critical role in Schwab’s
launch strategy.
Objective:
Schwab’s overall objective was to continue to
reinvigorate its brand by positioning itself as
approachable and consumer-centric to differentiate
it from the rest of the category.
Maintaining the momentum of the launch and
its associated “buzz” were also priorities. The
campaign remained firmly targeted toward
mass-affluent baby boomers (age 35-64) who
were dissatisfied with their current broker relationships.
Strategy:
Schwab continued its extensive use of out of
home media and tripled the number of local
markets using the medium. Out of home contributed
to the campaign’s strategy of integrating
Schwab into the everyday lives of investors
-- at home, at work, and on the go. The foundation
of the out of home plan continued to be
an ubiquitous mix of bulletins, wallscapes, cof-
fee-cup sleeves, commuter-rail, airport posters,
shopping mall dioramas, elevator video, inflight
video, airport clubroom video, taxi tops,
street kiosks, and bus shelters.
However, given the need to further differentiate
itself, Schwab added a layer of unique,
nontraditional out of home tactics designed to
generate incremental visibility and buzz for the
campaign. These media tactics were closely
aligned with specific creative messages to
maximize the synergy of the campaign.
Plan Details:
Beyond the many returning elements of the out
of home campaign noted above, Schwab also
employed unique tactics such as ads on over
two million dry-cleaner bags in seven urban
markets, ads in 200 health clubs during the
peak workout period in five major markets, and
projected images and video on building walls at
night in downtown shopping districts and malls
on Black Friday 2006 (the day after
Thanksgiving—#1 shopping day of the year).
Nine major markets were included in this highly
visible, guerilla media effort. Packaged breath
mints were distributed on all domestic United
Airlines flights in April 2007. Passengers in first
and business classes received a complimentary
box of mints, engraved with Schwab’s logo and
the message “Investmints. For a Fresh
Conversation, Talk to Chuck.”
While not technically out of home media,
Schwab extended its use of traditional billboards
to the virtual world, by embedding replicas
of physical billboards into Microsoft’s 3D
36

Virtual Earth mapping product. Schwab’s “billboards”
were seen throughout the threedimensional
photographic renderings of five
major cities, generating additional impressions
for its out of home messages. Schwab pioneered
this effort with Microsoft in January
2007.
Results:
Schwab’s brand momentum and business
growth accelerated through the end of 2006
and into 2007. Brand metrics were up across
the board, including the key metric of “consideration,”
where Schwab achieved the top rank
in the category. Net new assets to the firm
were up 33 percent in 2006, bringing Schwab’s
total client assets to over $1.2 trillion for the
year. And Chairman/CEO Charles Schwab
acknowledged the role of the campaign in his
firm’s success at the end of 2006, saying,
“New brokerage accounts rose 15 percent in
2006 to 655,000, reflecting the continued success
of our ‘Talk To Chuck’ advertising.”
The campaign won the 2007 National Out of
Home Media Plan Award.
37

[KAISER PERMANENTE]
Kaiser Permanente positions itself as being a
health maintenance organization that is serious
about proactively keeping people healthy. In
addition to standard health coverage, it provides
its members with resources on how to
live healthy lifestyles. One of the most important
times of the year to increase awareness
and brand image of Kaiser Permanente is during
open-enrollment periods. Kaiser set out to
increase consumer recognition levels and bring
home its positioning message.
Strategy:
The overall strategy was to use broad-based
media to showcase Kaiser Permanente and the
proactive health message “thrive.” Each of
Kaiser Permanente’s top regions were evaluated
for the most effective media mix. Kaiser’s
Northern California region was chosen as an
ideal region to integrate a strong out of home
program to support the overall open enrollment
campaign. The Northern California region
includes San Francisco, Sacramento, and
Fresno. The out of home inventory here provided
the perfect landscape for a strong creative
message.
Northern California Plan Details:
High Profile Bulletins: The anchors of the out
of home plan were bulletins on major interstates.
Locations were strategically placed to
ensure high daily impressions and good distribution
throughout the San Francisco Bay Area.
Each area was targeted with at least one bulletin.
Rotary Bulletins: Major surface street bulletins
were used to ensure full distribution throughout
the target area. Rotary bulletins were purchased
in areas where it was important to use
fewer units to cover a larger area.
Unique Out of Home Platforms: A total of
eight unique out of home platforms strategically
placed throughout the San Francisco Bay
Area. This inventory included wallscapes, oversized
spectaculars, and trivisions.
BART/MUNI Metro Transit System: Based on
the target demographic and the popularity of
San Francisco’s commuter rail system, transit
advertising became a primary tactic. Interior as
well as station displays were purchased with
system-wide distribution.
BART’s second busiest station, Embarcadero
Station, was selected for a domination package.
Kaiser’s goal of creating buzz in the market
was delivered with this program. This domination
package ran for one month at the beginning
of the three month program as a launch in
the market.
Posters: Posters were purchased in each major
market of the Northern California Region: San
Francisco, Fresno, and Sacramento. Posters
delivered full market coverage and increased
frequency for the out of home program. Each
market was further evaluated to appropriately
place Hispanic targeted ads, where the population
distribution was at least 40 percent
Hispanic.
38

Results:
Kaiser Permanente saw increased brand
recognition in all markets in correlation with
the overall open enrollment media campaign.
The Northern California region benefited with
the following results:
• 11 percent increase in the number of consumers
who reported a positive image of
Kaiser.
• 7 percent increase in the number of consumers
who were “likely to consider joining
Kaiser Permanente.”
The campaign won the 2006 Local Out of
Home Media Plan Award.
39

[APPLE IPOD]
By mid 2003, digital music was a national conversation.
Music sales were down. Legal sites
were failing to gain consumer interest. MP3
players were covered as the year’s hottest
technology, but were slow to be adopted into
mainstream culture. Apple was revolutionizing
music, one chapter at a time. By spring, 2003
Apple had launched iTunes, iPod, and the
iTunes music store. However the challenge
remained: How did Apple ensure that its music
products were seen as the solution for all
music lovers and not just for a niche group?
Apple’s user base had remained small, and its
market share wasn’t gaining strength.
Objective:
Apple needed to unite music lovers instead of
dividing them. Apple had to go from a brand
seen as niche and exclusive to a brand that
included everyone. Apple needed a platform
that would grow its relevance and market
share.
Strategy:
The agency spoke with consumers to understand
their barriers and triggers, and how the
campaign should be best adapted to reach the
targeted market. The creative idea needed to
celebrate the universal freedom iPod brought
to music lovers, and the media would need to
be ubiquitous. The strategy: iPod is everywhere.
Instead of spreading thin across a market, key
areas were selected for
maximum impact. Hence,
these key areas were
treated as markets in
themselves. This concentration
allowed youthprevalent
cities or “centers”
to receive the heaviest
media and served as
influencers for the iPod
message across the
country.
Plan Details:
Out of home drove the impact of the campaign.
Pervasive and intrusive, out of home boards
were iconic reminders of the universal love of
music. Out of home was placed at eye level
and on boards soaring above street level. The
campaign started in October and ran through
December. The markets included New York,
Boston, Chicago, San Francisco, Los Angeles,
Dallas, Miami, and Las Vegas. The out of home
formats included bulletins, phone kiosks, scaffold,
station domination, urban panels, walls,
wildpostings, street kiosks, bus shelters, 2sheets,
news racks, and coliseum kiosks.
Results:
Apple’s goals were to make iPod a universal
icon of digital music, and to increase iPod’s
sales by 50 percent. All were aggressive goals.
Apple not only reached these goals, but surpassed
them in a way no one could have predicted.
Apple reported a 207 percent year over
year increase in sales for iPods, which made up
59 percent of its total
revenue. Beyond sales
and profit increases, this
campaign fundamentally
repositioned the brand
for future success.
The campaign won the
2006 National Out of
Home Media Plan Award.
40

[CREATING OUT OF HOME ADVERTISING]
For more information visit https://www.oaaa.org/CreativeResources/
There are a few basic guidelines to consider
when designing for the out of home medium,
but they are not rules. There are always exceptions.
However, adapting the guidelines does
require an appreciation of the rudimentary principles
of good out of home
design.
The out of home medium
presents limitless options and
approaches for creative
design. There are dozens of
sizes and shapes and seemingly
endless locations and
stunning technologies, which offer boundless
opportunities for designing effective advertising.
[THE CREATIVE CHALLENGE]
Designing out of home
advertising is visual storytelling.
The expression of
an idea can surprise viewers
with words or excite
them with pictures. Out of
home designs can influence
consumer decisions
and sell products through
the use of humor or
drama.
According to noted media researcher Erwin
Ephron, “The ad on an out of home unit is the
face of the medium. Creative becomes an
Rational
The viewer
rationally interprets
a message
[ ]
“You know you’ve achieved
perfection in design, not when
you have nothing more to add,
but when you have nothing
more to take away.”
Emotional
active media variable. Not in terms of attention
paid, or engagement with, but by the message
itself attracting eyes to the medium by being
noticeable.”
Antoine de Saint-Exupéry,
Artist
Creating for the out of home
medium is a challenging communication
task that requires
the expression of a concept
with clarity and austere focus.
When out of home advertising
is well designed, it will entertain
and intrigue consumers
with arresting influence.
The environment where out of home advertising
appears is considerably different from other
media, since there is typically no programming
or editorial associated with the medium. It is
pure advertising. That’s
why innovative, aesthetic,
or humorous out of home
design executions are
often the most memorable.
People are intelligent,
and good out of
home designs involve
viewers by stimulating
their imagination to solicit
a response. Good advertising
is storytelling. Dramatic tension or suspense
influences viewer interest which can be
expressed on three different cognitive levels:
rational, emotional and cultural.
The viewer
instinctively reacts
to a message with
emotion
Cultural
The viewer
determines if a
message is relevant
to them personally
and chooses to
either accept or
reject the message
41

Out of home designs depicting positive product
or social benefits will achieve better recall
among viewers than designs with inaccurate or
misleading product information. A call to action
is an effective technique for engaging a viewer.
Out of home displays that include website
addresses, telephone numbers, and special
offers can produce impressive results.
Combining interactive mobile technology with
out of home messages can be particularly
effective by facilitating two-way connections
between brands and consumers. SMS short
codes and Bluetooth technology can be used
to enhance the overall impact of an out of
home campaign.
[HUMOR]
Humor is a powerful design choice for out of
home executions. Humorous and intriguing
designs can build awareness faster than more
straightforward executions. The element of surprise
can grab a viewer’s attention.
Studies have shown humor elicits favorable
responses among viewers. Humor often
includes wit, an essential component for ensuring
an effective
response to intriguing or
aesthetic designs.
[INTRIGUE]
Intrigue involves a viewer
by using words or pictures
that may not be
immediately comprehensible.
Intrigue will often
present a puzzle and
solution relationship that
requires mental focus. A single, intriguing
design might be used to captivate a viewer.
However, a message could also be conveyed
using a series of related images that involve
the viewer in a saga that unfolds over time.
Bulletins featuring SMS short codes encouraged
viewers to vote on the meaning of provocative
images
Really Fresh Fish
A series of anonymous
taglines instructs
viewers about coping
with hard economic
times
42

[SURPRISE]
Surprise uses unexpected or unusual design
elements. A surprised viewer will generally
experience an emotional response once the
essence of the message is understood.
Sometimes the message is serious, so a powerful
image with a searing headline can be an
effective design choice.
[AESTHETIC]
Aesthetic designs present pleasurable images
or ideas to a viewer. Aesthetic designs are
often more dependent on pictures than words.
Vivid, colorful photography can aesthetically
enhance out of home designs. High-quality
illustrative artwork can also be an effective
design choice.
[LITERAL]
Literal designs generally produce the lowest
recall among out of home advertising viewers.
Although pure branding can be very effective
over an extended period
of time, literal advertising
does not quickly
increase brand
awareness.
Windows Devices Without
Walls
Red and white designs are used to convey consistent branding for Target
Viewers reported seeing a muffin crush a parked car
43

[THE BIG IDEA]
The out of home viewing audience
is mobile, which limits the potential
viewing time of an ad to only a few
seconds. Because of limited exposure
time, out of home designs
require a disciplined and succinct
creative approach. However, high
frequency is a fundamental
strength of the medium and repeated
exposures will ensure that a
message is absorbed and retained
over time.
Less is more when creating out of
home advertisements. The most
effective designs focus on a single idea or concept.
An advertiser should consider the most
important product benefit to communicate and
express that message to consumers.
Out of home advertising should be a quick
burst of essential information. Additional messages
dilute the essence of the primary benefit
and reduce the impact of the advertising. It is
equally important to limit design elements. Too
many elements may confuse a viewer or make
them work too hard to understand the meaning
of the message.
If a campaign requires multiple messages, one
option is to create a series of designs that
feature different core ideas presented as different
out of home executions.
Some place-based out of home formats are
viewed by consumers for a considerably long
span of time. These advertisements are often
located in places where people wait, such as
airports, train stations, checkout lines or waiting
rooms. In these situations, out of home
designs could include more details since there
is typically more time for viewers to digest the
information.
[ ]
“Solve the creative brief on a
poster and you’ll have an idea
that will work in virtually any
medium.”
David Berstein
44

[MEMORABLE MESSAGES]
In 2000, Sensory Logic conducted a
groundbreaking study that measured
the relative effectiveness of advertising
messages designed for the out of
home medium. A total of 40 subjects
were tested using the firm’s proprietary
BodyTalk methodology using a
projectable sample. The results of the
report led to the following recommendations
for creating an out of home campaign:
• Rely on imagery over words
• Relate messages to familiar ideas and easily
understood concepts
• Use playful, lively elements
• Draw on universal elements of life, such as
home and family
• Offer comfort
• Avoid intimidating viewers
• Emphasize brands as “heroes or helpers”
The “Killer” Bs
Brevity
Focus on a core idea. Keep overall advertising
messages and the elements of design simple.
Branding
Brand positioning is an important consideration
and can effectively increase product recall. The
bottom right is a good location for out of home
units with a horizontal orientation. The top half
of a design is the best location for a vertically
oriented unit.
Borders
Don’t be confined by the boundaries of a
frame. Crop generously and extend the elements
of design beyond the physical restraints
of an out of home unit. Extensions or other
three-dimensional embellishments and environmental
applications will enhance an overall
design by producing greater impact.
The ABCs of Simplicity
Accuracy
Express the most important idea concisely.
Boldness
Present dynamic or provocative messages.
Clarity
Limit the number of words and pictures.
45

[COLOR]
The full spectrum of color, vividly and
faithfully reproduced, is one of the
distinct advantages when creating out
of home campaigns. Designs bursting
with brilliant color can evoke emotional
responses that will arouse lasting
impressions.
It is essential that out of home
designs are easy to read. Choose colors
with high contrast in hue and
value. Contrasting colors are viewed
well at a distance while colors with
low contrast will blend together and
obscure a message. Research demonstrates
that high color contrast can
improve out of home advertising
recall by 38 percent.
Hue is the identity of color, such as
red, yellow, or blue.
Value is the measure of lightness or
darkness and can be separated into
shades and tints.
Shades are the relative darkness of
colors.
Tints are the relative lightness of colors.
A vertical bulletin in Los Angeles, CA erupts with dramatic
color
These 14 color combinations represent the best use of color contrast for advertising readability. The chart
evaluates primary and secondary color combinations taking into account hue and value. Example one is
the most legible color combination while example 14 is the least legible.
46

A standard color wheel illustrates the importance
of contrast in hue and value. Light rays
have varying wave lengths or frequencies.
Some pigments absorb light while others
reflect it. Reflected frequencies are perceived
as color.
Opposite colors on a wheel are complementary.
An example is red and green. They represent
a good contrast in hue, but their values
are similar. It is difficult for the human eye to
process the wavelength variations associated
with complementary colors. Consequently, a
quivering or optical distortion is sometimes
detected when two complementary colors are
used in tandem.
Adjacent colors, such as blue and green, make
especially poor combinations since their contrast
is similar in both hue and value. As a
result, adjacent colors create contrast that is
hard to discern.
Alternating colors, such as blue and yellow,
produce the best combinations since they have
good contrast in both hue and value. Black
contrasts well with any color of light value and
white is a good contrast with colors of dark
value. For example, yellow and black are dissimilar
in the contrast of both hue and value.
White and blue are also a good color combination.
47

[COMPLEXITY]
Advances in production technology have
allowed advertisers to use increasingly complex
imagery in their creative applications, but the
requirements for effective out of home advertising
have remained the same. Imagery must
be bold, clear, and easy to understand.
Strong images against simple backgrounds create
high impact visuals. Images placed against
complex backgrounds can be difficult to discern.
[TYPESTYLES]
Fonts selected for out of home
designs must be easy to read from
variable distances. Use large and legible
typefaces. Choose fonts that are
easily read at long distances. Fonts
with thin strokes or ornate script will
be difficult to read.
Adequate spacing between letters,
words, and lines will enhance visibility.
The relative size of letter characters
is also an important consideration.
When designing for roadside displays, letter
height less than eight inches is unreadable
while a two foot letter height is acceptable. A
letter height greater than three feet is clearly
readable. Words comprised of both upper and
lower characters are generally easier to read
than words constructed solely of capital letters.
[KERNING]
Sufficient kerning between letters assures legibility
from far distances. Tight kerning reduces
legibility causing adjacent letters to attach
together visually. Without proper kerning “clear
morn” could be interpreted as “dear mom.”
[STACKING]
A single horizontal line of text allows rapid
assimilation of a message without interruption.
Multiple text lines increase the time needed to
discern a message.
Consistent use of the candy’s iconic typestyle and
wrapper colors creates immediate brand identity
despite the use of gibberish in the advertising
clear morn
good kerning
clear morn
bad kerning
48

[TEXT LEGIBILITY GUIDE]
Distance in Feet Print Resolution Resolution for LED Examples
[LEADING]
If more than one text line is necessary, use
adequate leading between lines. When a line of
text rides on the line below the interplay of
descenders and ascenders it will make a message
difficult to read.
Overcrowding. Compressed type or too many
words will reduce the clarity of a message.
Excessive. Extreme variations between ascending
and descending letter segments and serifs
greatly reduces legibility.
Anemia. Fine typefaces will fade into a background,
becoming indistinguishable as the
viewing distance increases.
Overweight. Heavy typefaces lose their basic
shape when the viewing distance is increased.
Minimal Readable Text
Height in Inches
5' - 50' High 3mm-8mm
Malls, Airports, Retail, Lobbies,
Office, etc.
1" - 2"
50' - 100' High 6mm-12mm
Window, Street Display, Drive
Through
2" - 4"
100' - 200' Normal 12mm - 25mm Posters, Surface Streets 4" - 8"
200' - 300' Normal 25mm - 34mm
Posters, Surface Streets, and
Highway g y Bulletins
8" - 10"
300' - 350' Normal 34mm - 66mm
Highway Bulletins, Highway
Posters
10" - 15"
350' - 500' Normal 34mm - 66mm Highways, Spectaculars 15" - 20"
500' - 600' Low - Normal 66mm - 76mm
Highways, Spectaculars,
Stadiums
20" - 24"
600' + Low 76mm - 90mm
Skyscrapers, Spectaculars, Set
Back from Road
24" - 40"
Note: Readability is also dependant on color contrast. Higher contrasts will allow smaller text size. Complicated
backgrounds behind text will also reduce readability.
Illegibility. Ornate and serif typefaces can be
difficult to read, reducing the effectiveness of
an out of home design.
49

[DESIGNING FOR DIGITAL BILLBOARDS]
Simplicity is the fundamental guideline for creating
good out of home designs and the same
principles apply when designing for digital billboards.
Avoid using a white background when designing
for LED or other light emitting technologies.
White is a mixture of all colors, and will
appear subdued or muddy. White does not
carry the same vibrancy other colors convey.
The perception of color can change depending
on the amount of ambient light surrounding a
digital out of home display unit. For this reason,
rich background colors are more impactful
during daylight hours, while pastel backgrounds
are more vibrant at night and on cloudy days.
Digital out of home display technology can
automatically compensate for these factors.
Take advantage of the flexibility digital out of
home media offers. Change messages weekly,
daily or even hourly. Design with a creative
strategy that tells a story or communicates
details using multiple design layouts.
White on vinyl vs. white on digital
50

[THE OBIE AWARDS]
The OBIE Awards are one of the oldest and most prestigious honors for creative excellence in
advertising. The OBIE name is derived from the ancient Egyptian obelisk, a tall stone structure
that was used to publicize laws and treaties thousands of years ago. Many historians consider
the obelisk as the first true form of advertising.
Sometimes a simple idea is enough to express an emotion or message. In fact, sometimes a simple
idea can be worth an OBIE Award. These winning campaigns need no explanation, and that’s
exactly why they are OBIE Award winners.
[ ] [ ] [ ]
“It’s really the idea. Is it a
strong idea? Is it truthful?
Does it entertain people?”
Scott Boswell,
Doe-Anderson
“The best outdoor transcends
that physical space and
leverages where it is as part of
the communication.”
John Butler,
Butler, Shine, Stern & Partners
“The best ideas in outdoor are
about telling a story really
quickly and in ways that
people haven’t seen before.”
John Livengood
DDB Seattle
[ ]
“For modern-day communication to really connect with people, it literally has to grab you by the eyeballs
and invite you into the communication, but more importantly, there has to be a reward as a result of that.”
Mark Tutssel,
Leo Burnett Worldwide
51

[PRODUCTION]
For more information visit http://www.oaaa.org/marketingresources/outdoormediaformats.aspx
The production process begins once the finished
artwork is sent by the advertiser or
agency to a printer, or directly to the out of
home company. Almost all artwork is now provided
digitally. This allows the same creative to
be repurposed for use on multiple out of home
formats, some of which have the same aspect
ratios.
Out of home production has changed in some
key ways over the last decade, leading to a
more attractive and efficient product and making
the industry a better environmental steward.
[SINGLE SHEET POSTERS]
In 2008, the industry began converting to a
new poster installation system that accommodates
polyethylene (PE). Many large format
printers provide single sheet poster products.
Single Sheet Poster
The PE material is lightweight, flexible, and
strong. Single sheet posters have a high quality
appearance and last longer than conventional
paper posters. They do not flag and won’t
bleed due to moisture.
Single sheet posters are easier and safer for
workers to install. One installation now takes a
person 10-20 minutes, instead of an hour or
more. Because installation procedures are
streamlined, single sheet posters can be
installed during inclement weather.
The introduction of
single sheet posters
altered some of the
operational practices
related to poster panels.
Single sheet
posters are not rotated.
Like any poster
product, they are
intended for one-time Recycled PE Pellets
use. However, single
sheet posters are built to perform for at least
eight weeks. In testing, the posters have actually
lasted longer. Because single sheet posters
won’t flag, overages are not necessary; however,
a 5 percent overage is still recommended.
[ENVIRONMENTAL INITIATIVES]
The out of home advertising industry has
developed a new generation of materials and
lighting to reduce its impact on the environment.
Material Innovations
Taking measures to be environmentally conscious
isn’t new for the out of home advertising
industry. For years, the industry has been
committed to finding additional purposes for
used billboard vinyl.
With single sheet posters, the industry has
begun using environmentally friendly polymers.
When PE posters are removed, they can be
packaged and shipped to US recyclers, where
they can be converted into products that
include railroad ties, decking, flower pots, and
other usable items.
PE Railroad Ties
52

Some out of home companies have switched to
a lighter material for bulletin installations. This
change has resulted in the reduced use of the
fuel-consuming crane trucks that are routinely
used to lift and place traditional PVC vinyl.
Instead, the industry is using two-man crews
who use a small pickup truck to transport the
advertising copy. In addition to the energy savings
associated with this change, lightweight
vinyl is safer for workers to install. Traditional
billboard PVC vinyl weighs approximately 75
lbs, whereas the new lighter-weight vinyl
weighs approximately 25 to 35 lbs.
Lighting Technology Innovations
The Metal Halide,
High Intensity
Discharge lighting
system has been an
industry standard
for more than a
decade. New lighting
systems save
energy and cut
costs by reducing
light spillage and
the kilowatts used
LED Lighting
to illuminate out of home displays at
night.
The out of home advertising industry typically
used four 400 watt luminaries to illuminate a
standard 14 X 48 foot bulletin structure. New
lighting alternatives have been developed with
two 400 watt luminaries, which use precisely
cut prisms to direct the light for maximum efficiency
and uniformity, thus reducing light
spillage and cutting energy use by 50 percent.
To date, the out of home industry has converted
approximately 85 percent of its bulletin
inventory to these new, efficient lighting systems.
The out of home advertising industry is also
experimenting with LED lighting systems.
Recent advancements in LED technology have
led some out of home advertising companies to
install these systems.
The industry has discovered there are many
benefits to LED lighting, such as:
• A longevity up to 20 times that of standard
incandescent lamps, translating to lower maintenance.
White LED light fixtures have an
average lamp-life of 50,000 hours and do not
require a re-lamp exchange over the life of the
fixture. The elimination of the annual re-lamping
reduces the industry’s labor costs and
waste associated with traveling back-and-forth
to the board. This system ultimately reduces
the out of home advertising industry’s annual
transportation emissions.
• Consuming less energy in the form
of non-light-producing heat. As a
result, the lighting fixtures are cool to
the touch.
• Fixtures do not
contain mercury.
• Greater efficiency,
using up to 75
percent less energy
(in watts) than other light sources.
• Better at directing light in a single direction
than incandescent or fluorescent bulbs. LEDs
focus more light onto the board surface, reducing
light waste by approximately 80 percent.
Alternative Energy
Innovations
Some out of home companies
are piloting solar and
wind installations which can
produce enough electricity
to power a
billboard. The
industry
believes the
return on
investment on
these systems
will be less
Solar
Wind
53

than eight years and the cost efficiency will
continue to improve as component costs go
down.
[HOW TO AVOID PRODUCTION DELAYS]
While standardization prevails across most
types of out of home media, variations do exist
in some markets. It is prudent to check with
individual market sellers on factors such as
acceptable artwork, mechanical sizes, printing
specifications, rules regarding extensions or
cut-outs, and similar production aspects.
Here are a few of the most common causes of
job delays:
• Missing or incomplete fonts
• Missing files
• Poor quality type/line art
• No PMS or CMYK color matches provided
• Out of proportion layouts
• Missing or poor quality color match prints
• Unclear or conflicting art directives
• Low resolution images
Depending upon the quantities involved, most
out of home bulletins, posters, and transit
cards can be produced in 10 days or less, as
long as the production specifications provided
by the printer are followed. The following sections
give an overview of the various formats
that make up the medium.
54

Planning for OOH Media
[BILLBOARDS]
Standardized large format advertising displays intended for
viewing from extended distances, generally more than 50 feet. The
following are some common examples of this media
segment.
55

[BULLETINS]
Bulletins are the largest and among the most
impactful standard-sized out of home media
formats. Located primarily on major roads, they
attract high-density consumer exposure (mostly
to vehicular traffic, but often to pedestrians).
Bulletins afford heightened visibility due not
only to their size, but also because they allow
creative “customizing” through extensions and
embellishments.
Primary Uses
Bulletins provide high impact and high circulation
for many kinds of products and services to
reach consumers.
Rotary Bulletins
Rotary bulletins are moved to different, preapproved
locations periodically to give broad
market coverage.
Permanent Bulletins
Permanent bulletins have dominant coverage of
high traffic volumes at fixed locations; advertising
remains at the location throughout the
duration of the contract. Permanent bulletins
are also used for directional or selected geodemographic
coverage purposes.
Availability
Bulletins are available in virtually all markets
(cities, towns, connecting highways, and
expressways) in all states except Alaska,
Hawaii, Maine, and Vermont.
Research/Market Information
Circulation verification by TAB (Traffic Audit
Bureau). Reach and frequency can be calculated
using several accepted media software programs.
Method of Purchase
Rotary Bulletins
Rotary bulletins are usually purchased in multimonth
contract; generally moved to new locations
every 60 days.
Permanent Bulletins
Permanent bulletins are purchased and priced
individually, predicated on location and audience
delivery. Contracts are generally for six
months or longer.
Shorter contract periods are possible for all
bulletins.
Specifications
Overall Size
The most common bulletin sizes are shown
below. However, there are specially constructed
“spectacular” bulletins with elaborate features
and embellishments (such as backlighting),
which can be negotiated individually.
The most common live copy area sizes are:
Standard Sizes
• 14' H x 48' W
• 10’ H x 40’ W
• 10’6” H x 36’ W
Spectacular Sizes
• 20’ H x 60’ W
• 16’ H x 60’ W
Design
Efficient creative design is critical for visual
impact. A simple design provides the best
impact for reaching the targeted audience.
56

Production
Painted Bulletins
This technique is rarely
used today. Artwork
should be received by
plant operators 60 days
before the posting date.
Rendered by skilled
artists and painted, the
artwork scale should be
3/8” or 1/2” = 1’.
Printed Bulletins (Opaque PVC Vinyl or PE
plastic)
This is the most common technique for producing
bulletins. Durable and long-lasting flexible
vinyl faces present a uniform appearance with
good color and art quality. Vinyl or plastic bulletins
must be supplied to plant operators at
least 10 working days prior to the posting date.
The material is usually produced on one sheet
and stretched over the face of the structure. A
four inch pole pocket is contained within the
bleed on all four sides are required.
The vinyl-coated polyester weave and polyethylene
plastic used as a bulletin substrate varies
in weight and density, depending on its application.
Typically, billboard flex is a lightweight
material; its strength is derived from the structure
it wraps. Ususally, it is not fire-retardant
and is between eight and 12 oz. per square
yard. There is a heavier 18 oz. material which is
fire-retardant and is typically used for interior
signage and in situations where flame spread
and smoke density are an issue.
Inks
All inks are weatherproof and waterproof with
sufficient UV protection.
Preparation of Artwork
Traditional Mechanicals
The layout size for 14’ x 48’ bulletins is 7” x
24”, scaled to 1/2 ”x 1’. A tissue overlay is
used to note special embellishments and colors
and, if a photograph is used in the design, an
8” x 10” (or larger) color photograph should be
provided with a color
copy of the layout.
Digital Files
Digital files should be
supplied at 300 dpi with
a printout. The preferred
layout sizes are 3/8” or
1/4” scale. Screen and
printer fonts should be
included as well as all
image files. Low resolution
images are acceptable for placement only.
Supply original transparencies or hi-resolution
scans for any artwork. All images and art files
provided should be saved in CMYK mode, and
as EPS or TIFF files with an accompanying
color printout of the layout.
Extensions
To increase the impact of bulletins, extensions
(cutouts that extend beyond the basic shape of
the structure) are often used. Extensions or
cut-outs may be added around perimeters
often with a one-time charge per square foot
and a once-a-month maintenance charge.
Depending on local restrictions, extensions or
cut-outs may be added from 5’ to 5’6” on top,
2’ on the side and 1’ on the bottom. Extra
space cost is comparable to print media foldouts
or inserts. Check with local out of home
operators for market-specific rules and regulations.
57

[DIGITAL BILLBOARDS]
Digital billboards offer static messages that
rotate every few seconds with typically six to
eight advertisers sharing the same location. Ad
messages change every six to eight seconds.
Primary Uses
Digital billboards provide high impact and high
circulation exposure in a wide range of markets.
Availability
Digital billboards are available in many states
and communities. Contact individual plant
operators for availability.
Research/Market
Information
TAB (Traffic Audit
Bureau) provides
circulation verification
for digital billboards.
Reach and
frequency can be
calculated using
several accepted
media software programs.
Method of Purchase
Digital billboards can be purchased by specific
location or a network of multiple locations,
which may be offered by individual plant operators.
Digital billboards can be contracted for
periods ranging from one week to several
weeks.
Digital billboards are a flexible format.
Advertising messages can be changed weekly,
daily or even hourly. Creative strategies can
tell a story or communicate numerous details
using multiple design layouts. Dynamic content
works by first using a base creative designed
with consideration
of space for dynam-
“The attraction for
ic content (either
advertisers is the versatility text or imagery).
of the network and its
Then, the dynamic
capacity to run time-sensitive
content is selected
messages that can be
changed at the push of a
button.”
Mediaweek
[ ]
“These large computerized
displays marry the choice
from a client’s location of traditional roadside
website and pulled billboards with the opportunity
from the HTML for customization and frequent
source directly. updating that is the hallmark of
web advertising.”
The source data is
incorporated into
Inc. Magazine
the base creative
and updates
whenever the client source changes – keeping
the content timely and relevant.
Specifications
[ ]
Overall Size
Digital billboards resemble standard bulletins
and posters. For this reason, the overall dimensions
are the same
as conventional billboards.
Production
Art files are very
small and there are
no production or
installation charges
for digital billboards.
The preferred
file size will
vary depending on
the size and dot
pitch of the unit. Contact your vender for specific
file sizes prior to producing art. It’s a good
idea to create the files at actual size. This provides
the sharpest possible image by alleviating
the need to “down sample” the artwork
before use. Down sampling will cause the
image to become pixelated and hurt the overall
impact of the design. Designing at the actual
pixels’ density will also limit use of extremely
small type. If it can’t be read at actual pixel
size, it can’t be read from the street. The preferred
file formats are .psd, jpg, tiff, or bmp
saved at 72ppi in RGB color mode.
58

[JUNIOR POSTERS]
Junior posters are located mainly in urban
neighborhoods and on smaller roads. They are
viewed by automobile traffic and pedestrians.
Positioned just above eye level, they are either
free-standing units or mounted on the sides of
buildings. In some markets, select panels are
mounted vertically.
Primary Uses
Junior posters are often used for their proximity
to retail outlets where they can stimulate
sales. They are occasionally available in areas
where the larger format posters or bulletins
may not be abundant. Junior posters are
appropriate for short-term seasonal and regional
campaigns, and product introductions. They
are also used to target ethnic markets in major
urban areas due to their distribution. They support
targeting and media diversity and offer
lower cost per thousand impressions.
Availability
Junior posters are in hundreds of markets with
backlit units available in a few select markets.
Research/Market Information
Circulation numbers are verified by TAB
(Traffic Audit Bureau). Reach and frequency
can be calculated using several accepted
media software programs.
Method of Purchase
Junior posters are purchased in GRP programs
of different weights, typically in four to 52
week units, depending on campaign objectives.
Specifications
Design
The proportions of a junior poster and a standard
poster are the same. The same designs
can be used for both display sizes.
Overall Size
The standard total copy area for posters is
5’ x 11’ (60” x 132”).
Production
Substrates
Lightweight and recyclable PE (polyethylene)
and PP (polypropylene) thermo-plastic materials,
and sometimes lightweight PVC, are
installed as single sheet posters onto structures
without the use of adhesive paste.
Posters made from these materials are available
from many printers. Single sheet posters
provide a seamless appearance, prevent flagging
and reduce weather delays when posting
campaigns.
In some markets, paper posters are still
accepted.
Installation Systems
Single sheet posters are mounted using various
cable and clip installation systems. Confirm
which installation systems are used by individual
out of home media companies.
Exposure Time
Panels should be reposted every 60-90 days.
Mechanicals
Finished art should be scaled 1” to 1’.
Delivery
Deliver posters to out of home companies 10
working days prior to posting date.
59

[POSTERS]
Posters are located chiefly in commercial and
industrial areas on major local roads. They are
viewed principally by people in automobiles or
pedestrians and deliver exposure to residents
and to commuter traffic.
Primary Uses
This format is often used as a full market coverage
medium for reach and frequency.
Packaged buys can be tailored for specific marketing
goals: supermarket coverage, ethnic targeting,
focus on certain geographic areas, etc.
Availability
Posters can be found in virtually all markets
(cities/towns) except those in Alaska, Hawaii,
Maine, and Vermont.
Research/Market Information
Poster circulation numbers are verified by TAB
(Traffic Audit Bureau). Reach and frequency
can be calculated using several accepted
media software programs.
Method of Purchase
Posters are purchased in GRP programs of different
weights, typically in four to 52-week
units, depending on campaign objectives.
Specifications
Overall Size
The total area for posters is 125” x 272”.
Design
Efficient creative design is critical for visual
impact. A simple design with few words provides
the best impact for reaching the targeted
audience.
Production
Substrates
Lightweight and recyclable PE (polyethylene)
and PP (polypropylene) thermo-plastic materials,
and sometimes lightweight PVC, are
installed as single sheet posters onto structures
without the use of adhesive paste.
Posters made from these materials are available
from many printers. Single sheet posters
provide a seamless appearance, prevent flagging,
and reduce weather delays when posting
campaigns.
In some markets, paper posters are still
accepted.
Installation Systems
Single sheet posters are mounted using various
cable and clip installation systems. Confirm
which installation systems are used by individual
outdoor media companies.
Exposure Time
Panels should be reposted every 60-90 days.
Mechanicals
Finished art should be scaled 1” to 1’.
Delivery
Deliver posters to out of home companies 10
working days prior to posting date.
60

[SPECTACULARS]
Spectaculars are large and elaborate, nonstandard
structures custom-designed to gain
maximum attention through such eye-catching
special effects as: neon tubing, fiber optics,
backlit panels, hydraulic movement, video
screens, message centers, three-dimensional
sculpted features, incandescent lamps,
strobes, transparencies, and various digital
graphics.
Primary Uses
Spectaculars are created by special design
teams and erected at locations of mass consumer
exposure, such as New York’s Times
Square or Los Angeles’ Sunset Strip. They are
also used in areas where there is visibility to
several major highways at the same time, such
as expressways in major downtown
areas.
Availability
These boards are available in major
cities (downtown areas, airport vicinity)
on a custom lease basis.
Research/Market Information
In most major markets, circulation is
verified by TAB (Traffic Audit Bureau).
Method of Purchase
Spectaculars are purchased with special
contracts, typically for a long-term lease.
61

[WALL MURALS]
Wall murals are advertisements painted directly
on building surfaces or printed on pressuresensitive
vinyl and attached to walls. Not all
walls accommodate vinyl. Wall murals accommodate
a wide variety of unusual creative sizes
and shapes and have high exposure and visibility
to vehicular and pedestrian traffic. Located
on major freeways and highways, on commuter
and tourist routes, and in downtown business
districts, wall murals are custom-designed for
long-term exposure.
Primary Uses
With selected coverage of highway, expressway,
and commuter traffic, wall murals often
become landmarks in a city.
Availability
Murals are available in major markets, such as
New York, San Francisco, and other urban
areas.
Research/Market Information
In major markets, circulation is verified by TAB
(Traffic Audit Bureau).
Method of Purchase
Murals are purchased with special contracts for
long-term leases, usually months and sometime
years. These units often require substantial
investment in design, construction, and maintenance.
Production
Painted
Rendered by skilled artists and painted, this
technique is rarely used today. Artwork should
be received by plant operator 60 days before
the posting date. The artwork scale should be
3/8” or 1/2” = 1’.
Hung
For exterior wall murals where the building is
the structure, wind load becomes an issue. To
alleviate some of the stress, an open weave of
vinyl-coated polyester fiber is the preferred
substrate. Not only does it allow the wind and
the water to pass through, it also allows light
to pass through so the occupants of a wrapped
building can see out of the windows.
Adhesive
An adhesive-backed direct application can also
be used for “wrapping” a building or any other
surface. The substrates, while often vinyl, can
also be produced from Mylar and polyester.
There is an alternate substrate used for concrete,
brick, or primed sheet rock. When
applied to glass, the material is perforated.
There are adhesives designed for unusually
cold, as well as warm, temperatures.
62

[WRAPPED POSTERS]
Wrapped posters offer greater copy area than
a standard poster by using a 300-square-foot
printed surface with a copy area measuring
12’3” H x 24’6” W. Extensions 3’6” H x 1’ W
are available in some markets.
Primary Uses
Wrapped posters can be used for targeting a
specific area within a market. Selections can
be made from available poster locations.
Availability
These posters are limited to markets where
structure configurations allow for this method
of installation.
Research/Market Information
Circulation numbers are verified by TAB
(Traffic Audit Bureau). Reach and frequency
can be calculated using several accepted
media software programs.
Method of Purchase
Wrapped posters can be purchased either
long-term or in rotary packages.
Production
These posters are printed on vinyl or other
lightweight plastic substrates. A four inch pole
pocket is contained within the bleed on all four
sides.
63

[WRAPPED SQUARE POSTERS]
Stacked or square posters draw attention to an
advertiser’s message through a unique vertical
format. Sometimes these square units are
available in a junior poster configuration as
well. Extensions are not permitted on wrapped
square posters.
Primary Uses
Wrapped square posters are usually purchased
as permanent locations. Rotary programs are
available in some markets.
Availability
They are available in many markets except
Alaska, Hawaii, Maine, and Vermont.
Research/Market Information
Circulation numbers are verified by TAB
(Traffic Audit Bureau). Reach and frequency
can be calculated using several accepted
media software programs.
Method of Purchase
Wrapped square posters are purchased individually.
Contracts are generally for 24 weeks or
longer.
Production
These are printed on vinyl or other lightweight
plastic substrates. A four inch pole pocket contained
within the bleed on all four sides is
required.
64

Planning for OOH Media
[STREET
FURNITURE]
Advertising displays, many of which provide a public amenity,
positioned in close proximity to pedestrians and shoppers for
eye-level viewing, or at curbside to influence vehicular traffic. The
following are some common examples of this media segment.
65

[BICYCLES AND BICYCLE RACKS]
Shared bikes are a means of public transportation,
using bicycle networks to facilitate fast
and easy transportation access for individuals.
The stations are placed at regular intervals
throughout a city, located close to public transport
hubs such as train, rail, and bus stations
and at central locations such as office and
shopping areas as well as tourist attractions.
Primary Uses
Advertising is placed on bicycles and at stations
to reach riders and passing vehicular or
pedestrian traffic.
Availability
Available in only a few major markets.
Specifications
Varied. Contact plant operators.
66

[BUS BENCHES]
Bus bench advertising consists of 4-color
process silk-screened posters affixed to the
backrest area of bus benches. Located at bus
stops within metropolitan areas at high traffic
intersections.
Primary Uses
Used primarily to reach pedestrian and vehicular
traffic -- as well as bus riders -- in metropolitan
markets. Used to reach specific demographic
segments as well as mass-market coverage.
Used as a point-of-sale vehicle near
supermarkets, malls, movie theaters, music
stores, tourist attractions, and so forth.
Availability
Metropolitan markets.
Research/Market Information
Audience estimates and other marketing data
available from sellers.
Method of Purchase
Sold in packages for mass-market coverage or
individually placed to reach specific demographics.
Specifications
• Overall Size: 24” H x 84” W
• Copy Area: 22 1/2” H x 82 1/2” W
Design
Aspect ratio is similar to bulletins. Can be created
using solid colors or 4-color process.
Production
Printing
Silk-screened directly onto stock in one solid
color to complete 4-color process.
Stock
0.125 tempered Masonite or styrene.
Inks
For process silk-screen printing, ultraviolet ink
is used with a clear coating for increased outdoor
durability.
Sections
Bench panels are printed in one piece.
Overage
From five to 20 percent, based on terms of
lease.
67

[BUS SHELTERS]
Bus shelter panels offer uncluttered showcases
for advertising, mounted (usually two per shelter)
in glass, backlit frames. They provide 24
hour visibility to vehicular and pedestrian traffic
at high-circulation locations, usually along main
roadways of metropolitan markets.
Primary Uses
Used to reach metropolitan audiences for both
national and local advertisers. Can be purchased
and rotated throughout markets or by
selective locations to reach specific target
groups. Magazine-quality production makes
them effective for multiple uses, including
point-of-purchase, directional, residential coverage,
ethnic, or micro-marketing. Often
bought in conjunction with other forms of out
of home advertising.
Availability
In most major markets throughout the United
States
Research/Market Information
Circulation verification from TAB (Traffic Audit
Bureau) in most markets. Reach and frequency
can be calculated using several accepted
media software programs.
Method of Purchase
Purchased in GRP programs rotated in four
week intervals throughout a market. Some
available for sale individually.
Specifications
• Overall Size: 68.5” H x 47.5” W
• Copy Area: 67” H x 46” W
Production
Printing
Small Quantities
Digital UV
Inkjet/Solvent
on UV backlit
paper with UV
Mat-Lamination
on the front
face. Poster
should be encapsulated
with lamination
to prevent
moisture
infusion. The finished
product should total 10-12 mil density.
Large Quantities
Screen printed, or offset lithography.
Reverse printing on the back is preferred for
optimum illumination of backlit displays.
Stock
Screen Print or Lithography
8.5 point Opaline
Photographically
Digital UV Inkjet/Solvent on UV backlit paper
Inks
Weatherproof/waterproof with UV coating.
Mechanicals
Scaled 1/4” to 1’. Digital output resolution 300
dpi.
Sections
Production in one section only.
Overage
Ten to 15 percent per four weeks of posting.
Delivery
Ten working days prior to posting.
Other
Finishing: trim to size, pack flat or soft-roll.
68

[CONVENIENCE STORE ADVERTISING]
Convenience store displays are vertical, bus
shelter-sized displays located at the entrance
of chain and independent convenience stores.
Displays vary in size and can be located at
check-out areas, at entrances, or in parking
lots.
Primary Uses
Designed for point-of-sale emphasis, convenience
store displays provide channel-specific
advertising that can be used for broad or
micro-marketing purposes. Storefront locations
provide coverage in specific neighborhoods.
Availability
Available in major metropolitan markets.
Research/Market Information
Sellers generally can provide demographic profiles
and other marketing data.
Method of Purchase
Offered for 12 week or longer programs.
Specifications
• Overall Size: 68 1/2” H x 47 1/2” W
• Copy Area: 67” H x 46” W
Production
Printing
Small Quantities
Produced photographically and dry-mounted.
Large Quantities
Screen-print, lithograph or photogelatine.
Stock
70 lb wet strength, uncoated stock, or Styrene
printed one side.
Inks
Weatherproof/waterproof with UV coatings.
Mechanicals
Scaled 1/4” to 1’. Digital output resolution 300
dpi.
Delivery
Ten working days prior to posting.
69

[IN-STORE ADVERTISING]
Located within supermarkets, drugstores, or
convenience stores, in-store displays come in a
variety of forms: shopping cart panels, aboveaisle
or end-aisle displays, shelf-talkers, digital
message units, clocks, floor graphics, backlit
front aisle displays, and TV monitors. In-store
radio messages, coupon distribution, and sampling
are also used.
Selected Formats
In-Store TV Monitors
TV monitors located at the checkout counter in
convenience stores deliver advertising messages
in a continuous, content-driven loop of
custom programming providing information and
entertainment.
Checkout Counter Dividers
Used to separate one shopper’s groceries from
the next person in line, can claim an exposure
time as long as five minutes.
Floor Graphics
Vinyl displays affixed to the supermarket floor
near the product being promoted.
Primary Uses
Used to provide stimulus to shoppers at the
moment of a purchase decision.
Availability
The broadest programs reach thousands of
grocery stores, drug stores, and convenience
stores. Virtually all of the top 100 markets
have in-store media.
Research/Market Information
Audience data are provided by sellers. Some
employ research firms for studies of audience
size and effectiveness.
Method of Purchase
Varies by format. Units are generally sold in
multi-market store networks or as single market
buys for four week cycles.
70

[KIOSKS: INFORMATION]
Available as free-standing information or public-service
kiosks. Ads are affixed to two backlit
panels on each kiosk. The advertising revenue
funds the provision and maintenance of
additional public amenities.
Primary Uses
To reach pedestrians and vehicular traffic in a
densely populated center city: downtown,
retail, financial, and entertainment districts.
Availability
Available in a few large cities.
Method of Purchase
Sold in two week flights, by networks.
Specifications
• Overall Size: 137 3/4” H x 52 1/4” W
• Copy Area: 135 3/4” H x 50 1/4” W
Posters should be printed on one panel, to
paper trim size, and reverse-printed on the
back side.
Production
Printing
Print for backlighting by silkscreen, lithography,
or electrostatic method.
Stock
15 pt. Styrene or E-prints with front and back
lamination, 13 mil total.
Overage
Twenty percent per flight.
Delivery
Ten days prior to start of flight.
71

[KIOSKS: TELEPHONE]
Telephone kiosk panels are ads affixed to freestanding
public telephones and are available in
several forms.
Formats
Phone Kiosks
Vertical displays which appear on the sides of
public telephone structures. Backlit at night.
City Panels
Displays, horizontal or vertical, which appear
on the back side (street side) of public telephone
structures. Framed and permanently
attached to the phone booth.
Super City Panels
Backlit displays appearing on the back (street
side) of telephone kiosks.
Electronic Display Kiosks
Backlit LED ad panels that carry changing
messages.
Campus Kiosks
Displays (on or near college/university campuses)
which appear on kiosks that have
phones or a newspaper dispensing function.
Primary Uses
Used to reach pedestrians and vehicular traffic
in densely populated center city or campus
areas.
Availability
Available in large cities including New York and
Los Angeles.
Method of Purchase
Purchased in four week cycles. In urban centers,
telephone kiosks offer a variety of advertising
options.
Specifications
• Telephone Kiosk: 50” H x 26” W 48” H x 24”
W
• City Panels: Vertical 50” H x 26” W 49” H x
25” W
• City Panels: Horizontal 26”H x 53”W 25”H x
52”W
• Super City Panel: 35 11/16” H x 80 1/2” W
33” H x 77 1/2” W
• LED Phone Kiosk: 41” H x 26” W 39” H x
24” W
• Two -Sheet Kiosk: 46” H x 60” W 42” H X
57” W
Production
Printing
Lithography, screen printing, or digitally printed
on translucent material. Copy bleeds four
sides.
Stock
0.015 Styrene. For lithography, print both
sides.
Inks
Weatherproof/waterproof outdoor inks.
Mechanicals
Scaled 1/2” to 1” digital output, resolution 300
dpi.
• Telephone Kiosks: 25” H x 13” W, safety
1/2”
• City Panels: Vertical: 25” H x 26 1/2” W,
safety 1/2”
• Horizontal: 13” H x 26 1/2” W, safety 1/2”
• Super City Panels: 8 7/16” H x 20 1/8” W,
safety 1/2” (1/4” to 1”)
• LED Phone Kiosks: 20” H x 13” W, safety
1/2”
Overage
Ten percent per each four weeks of posting.
Delivery
Ten working days prior to posting date.
Other
Trim to size, pack flat or soft-roll.
72

[NEWSSTANDS AND NEWSRACKS]
Displays are affixed to permanent newsstand
and newsrack structures. These structures are
often a component within a broader street furniture
package that may include bus shelters,
automated public toilets, and kiosks.
Formats
Newsstand and newsrack displays range from
self-standing retail outlets to banks of automated
dispensing machines.
Primary Uses
Used to reach pedestrians and vehicular traffic
in densely populated center city or campus
areas.
Availability
Available in major US markets.
Method of Purchase
Purchased in GRP programs rotated in four
week intervals throughout a market. Some
available for sale individually.
Specifications
Sizes vary.
Production
Printing
Lithography, screen printing, or digitally produced
on translucent material. Copy bleeds
four sides.
Stock
0.015 Styrene. For lithography, print both
sides.
Inks
Weatherproof/waterproof out of home inks.
Mechanicals
Scaled 1/2” to 1” digital output, resolution 300
dpi.
Overage
Ten percent per each four weeks of posting.
Delivery
Ten working days prior to posting date.
Other
Finishing: trim to size, pack flat or soft-roll
73

[PEDESTRIAN PANELS]
Pedestrian panels are backlit, bus shelter-sized
showcases located on the inner perimeter of
sidewalks, facing outward from parking lot
locations in high-density metropolitan locales.
Primary Uses
Used to reach pedestrian
and vehicular traffic in metropolitan
shopping, tourist,
and downtown areas. They
are in proximity to businesses,
retail, hospitals,
and entertainment.
Availability
Available in several large
cities including New York,
Chicago, Washington, DC,
Boston, and Philadelphia.
Research/Market
Information
Circulation audits provided by TAB (Traffic
Audit Bureau). Other marketing data available
from sellers.
Method of Purchase
May be purchased individually or in coverage
packages.
Production
Printing
Small Quantities
Photographically or digitally produced (matte
or glossy).
Large Quantities
Screen printed, photogelatine, or offset lithography.
Reverse printing on the back will improve illumination
quality of backlit
displays.
with UV coating.
Stock
Screen Print or Lithography
8.5 point Opaline
Photographically
Varicolor, PDI Laminate
Stock should be white,
moderately transparent
(12-15 percent light transmitting).
Inks
Weatherproof/waterproof
Mechanicals
Scaled 1/4” to 1’. Digital output resolution 300
dpi.
Overage
Twenty to 25 percent per four weeks of posting.
Delivery
Ten working days prior to posting.
Other
Trim to size, pack flat or soft-roll.
74

[SHOPPING MALLS]
Shopping mall displays are located at
entrances, anchor stores, escalators, food
courts, and other high traffic areas in a mall as
kiosks, wall-mounted, and free-standing displays.
Many are two, three, or four-sided units
that can contain store
directories and are
backlit for added visibility.
Some copy
rotates to provide eyecatching
movement.
Programmable video
and digital displays are
available in some markets.
Murals are also available
in selected malls.
Primary Uses
Used to reach shoppers with spending on their
minds and for branding. Advertisers include
national and regional accounts as well as companies
whose products or services are sold in
the mall.
Availability
Available in thousands of malls throughout the
US, Canada, Puerto Rico, and Mexico.
Research/Market Information
Audience delivery information and other
research data available from sellers.
Method of Purchase
Purchased in GRP programs rotated in fourweek
intervals throughout a market. Some
available for sale individually.
Specifications
Size
Free-Standing Units
• Overall Size: 50” H x 40” W
• Copy Area: 48 3/4” H x 38 3/4” W
Shelter-Sized Units
• Overall Size: 69” H x 47” W
• Copy Area: 67” H x 46” W
Mall Murals
Consult sellers.
Design
May use full range of colors and photographic
reproduction. Where applicable, design should
consider vertical format
for best visual communications.
Important to
consider effect of backlighting.
Styrene or Opaline.
Photographic
Kodak Duratrans
Inks
Specify fade-proof inks.
Production
Consult seller for specific
requirements.
Printing Stock
Electronic
2 pieces of paper, laminated.
Screen print or
lithography: 8.5 point
Mechanicals
Scaled 1/4” to 1” or full-sized digital output
resolution 300 dpi.
Sections
Produced in one section only.
Overage
Ten to 15 percent per month of posting.
75

Planning for OOH Media
[TRANSIT]
Advertising displays affixed to moving vehicles or positioned in the
common areas of transit stations, terminals, and airports. The
following are some common examples of this media segment.
76

[AIRPORTS]
Airport advertising is available in a variety of
formats. Interior displays can be freestanding
or affixed to terminal walls, windows, columns,
ceilings, or floors.
They are located throughout terminals in arrival
and departure areas,
ticketing areas, baggage
claim, gate-hold
rooms, concourses,
retail shops, and VIP
lounges. The majority
of interior airport displays
are backlit.
Exterior displays are
available along airport/terminalroadways
as billboards,
spectaculars, or
overhead signs.
Selected Formats
Freestanding Interior Displays
Kiosks
Three or four-sided freestanding units located
throughout the airport’s terminals and concourses.
Showcases
Highly visible units that allow advertisers to
display their products and/or services to the
airport audience.
Exhibition/Promotion Areas
Areas located throughout airport terminals that
allow advertisers to communicate directly with
the airport audience. These tactical spaces
allow advertisers and marketers to educate
and inform passengers about products and
services.
Courtesy Phone Centers
Located in arrivals near baggage claim areas,
these units allow passengers to dial direct the
accommodation of their choice. It consists of a
unit backdrop with color advertisements and
special direct-line telephones located on the
front of each unit. Sold in packages.
Screens/TV Monitors
Full-coverage networks of LCD/LED screens
or television monitors providing advertising and
information in the airport at high-traffic passenger
cluster areas. Programming content is
often included.
Baggage Cart
Sponsorships
Panels located on
baggage carts located
throughout the
airport delivering
total audience coverage
with message
frequency.
Dioramas (Standard
& King-Size)
Back-illuminated
units distributed
throughout the terminals
in arrivals, departures, and baggage claim
areas. Full coverage packages deliver higher
reach and frequency. National, regional, and
local media programs are available. Fixed locations
may require an additional charge.
Spectaculars (Various Sizes)
Larger-size, back-illuminated units designed to
break through environmental clutter delivering
greater passenger reach and impact. Strategic
locations are available in main passenger arteries—concourse
heads, VIP lounges, above
walkways, and baggage claim carousels.
Wraps (Various Sizes)
A pre-printed adhesive material applied to flat
surfaces (walls, windows, and floors) giving
passengers the illusion that they are part of
the existing terminal structure. Wraps are sold
in singular locations or full airport sponsorships.
Jetbridge packages are also available.
Posters
Non-illuminated units distributed throughout
terminals in arrivals, departures, and baggage
claim areas.
77

Baggage Carousel Units
Advertising panels that replace the existing
panels on baggage claim carousels. These units
target arriving passengers.
Airport Bus Shelters
Back-illuminated units attached to airport bus
shelters. Sold in packages, these highly visible
displays are seen by the total airport audience.
Exterior Sponsorships/Landmark Spectaculars
One-of-a-kind spectacular exterior units that
deliver the entire airport audience. These highly
visible displays act as airport ambassadors,
welcoming passengers to the airport or to their
destination.
Primary Uses
Delivers the elusive and highly desirable audience
of business and leisure travelers.
Campaigns are designed to attract attention,
brand companies, products, or services, elicit
direct response, or encourage point-of-sale.
Availability
Almost every airport in the US and worldwide.
Research/Market Information
The Airports Council International, as well as
individual airport authorities, provide monthly
and annual passenger statistics. Audience
demographics are available in certain markets
where studies have been conducted.
Method of Purchase
Airport advertising is usually bought and sold in
multi-market campaigns. The number of locations
contracted determines coverage and
cost. Space is purchased in four week cycles,
on either a long or short-term basis.
Specifications
Following are specifications for three of the
more commonly available formats. These may
vary from seller to seller and within markets.
Contact sellers to confirm these specifications
and for specifications of other available formats.
Standard Diorama
• Overall Size: 43” H x 62” W
• Copy Area: 41” H x 60” W
Double Diorama Spectacular
• Overall Size: 43” H x 126” W
• Copy Area: 41” H x 121 3/4” W
7’ x 11’ Spectacular
• Overall Size: 83” H x 135” W
• Copy Area: 80” H x 132” W
Production
General Requirements
Contact sellers for specific production details,
as they may vary from seller to seller and market
to market for similar formats. For example,
78

some units may require specific substrates or
grommets.
Printing
The visible image should be centered on overall
dimension, and must bleed out to each edge of
copy.
Small Quantities
Photographically.
Large Quantities
Screen-printed, printparency, Duratrans or
Ciba-chrome transparency, or offset lithography.
Stock
Screen Print or Lithography
0.010 clear cellulose or vinyl. If lithographed,
print two sides.
Photographically
Varicolor or Duratrans.
Inks
Weatherproof/waterproof with UV coating.
Mechanicals
• Standard Diorama - 9” H x 13” W
• Double Diorama Spectacular - 9” H x 27” W
• 7’ x 11’ Spectacular - 20” H x 34” W
Sections
Standard dioramas and double diorama spectaculars
are one piece. 83” H x 135” W spectaculars
are two sections and seamed.
Overage
Twenty percent per four weeks of posting.
Delivery
Ten working days prior to posting date.
Other
Trim to size, pack flat or soft-roll.
79

[BUSES - EXTERIOR]
Exterior bus posters afford mass audience exposure as buses travel set routes through markets.
Frequency develops from repeated exposures due to buses following the same routes.
Primary Uses
Used to reach pedestrians and vehicular traffic in metropolitan areas during daylight and, in some
cases, nighttime hours.
Availability
In 80-85 percent of the top 100 markets.
Research/Market Information
TEAM (Transit Estimated Audience Measurement) provides coverage, reach, and frequency data.
Method of Purchase
Purchased in four week GRP programs representing estimated daily exposure opportunities as a
percent of market population.
Formats
Super King Size Bus Posters
The super king size bus poster is an exterior
display appearing on the street side of a bus.
Copy is printed on self-adhesive, pressure-sensitive
vinyl and affixed directly to the side of
the bus.
Specifications
• Overall Size: 30” H x 240” W
• Copy Area: 28” H x 238” W
Production
Printing
Lithography or screen printed or digital. Copy
bleeds on all sides.
Stock
Fasson Transit Vinyl
or Fasson Transit
Vinyl II, FLEXcon
BUSmark, or 3M
Controltac film
must be used.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks.
Mechanicals
Mechanicals should be scaled 1/8” to 1”.
Digital output resolution 300 dpi.
Sections
Commonly produced in four sections. The
printed area of each section is 60” wide.
Sections overlap 1/2”, left on right, so section
1 is 30” x 60” and sections 2,3 and 4 are 30” x
60 1/2” including overlap area. To avoid splitting
copy or illustration, uneven widths are also
acceptable.
Overage
Fifteen percent over the number of posters
indicated for the program is required for every
16 week period.
Delivery
Ten working days
prior to posting
date.
Other
For maximum durability,
conventional
or UV clear topcoating
should be
80

applied to poster surface.
King Size Bus Posters
The king size bus poster is an exterior display
which may appear on either side of the bus.
Copy is inserted in an aluminum frame
attached to the side of the bus, or may be
printed on self-adhesive, pressure-sensitive
vinyl which is affixed directly to the side of the
bus. Backlit kings are available in some markets.
Specifications
• Overall Size: 30” H x 144” W (trim size)
• Backlit: 29” H x 143” W
• Copy Area: 27” H x 141” W
Production
Printing
Lithography or screen printed or digital. Copy
bleeds on all sides. Sheets are overlapped
1/2”, left on right and overlap areas must be
unprinted and unvarnished.
Stock
For buses requiring direct application vinyl,
Fasson Transit Vinyl or Fasson Transit Vinyl II,
FLEXcon BUSmark, or 3M Controltac film
must be used. For framed buses, vinyl is preferred.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks.
Mechanicals
Mechanicals should be scaled 1/8” to 1”.
Digital output resolution 300 dpi.
Sections
Copy must be produced in two sections, left
overlapping right 1/2”. The printed area of
each section is generally 72”. Right-hand segment
of poster should measure 72 1/2” overall,
however, to avoid splitting copy or illustration,
uneven widths are also acceptable.
Overage
Fifteen percent over the number of posters
indicated for the program is required for every
eight week period.
Delivery
Ten working days prior to posting date.
Other
For maximum durability, conventional or UV
clear top-coating should be applied to poster
surface.
Queen Size Bus Posters
The queen size bus poster is an exterior display
which usually appears on the curb side of the
bus. Copy is inserted in an aluminum frame
attached to the side of the bus, or may be
printed on self-adhesive, pressure-sensitive
vinyl which is affixed directly to the side of the
bus, or in San Francisco, on the historic cable
cars.
Specifications
• Overall Size (Vinyl): 30” H x 88” W
• Overall Size (Paper): 29” H x 88” W
• Copy Area: 27” H x 85” W
81

Production
Printing
Lithography or screen printed or digital. Copy
bleeds on all sides. Sheets are overlapped
1/2”, left on right and overlap areas must be
unprinted and unvarnished.
Stock
For buses requiring direct application vinyl,
Fasson Transit Vinyl or Fasson Transit Vinyl II,
FLEXcon BUSmark, or 3M Controltac film
must be used. For framed buses, vinyl is preferred
but a minimum 70 lb wet strength paper
is also acceptable. For exposure periods of 60
days or longer, vinyl must be used.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks. When printing on paper, a primer coat
of white should be applied overall to avoid
bleed-through.
Mechanicals
Mechanicals should be scaled 1/8” to 1”.
Digital output resolution 300 dpi.
Sections
Copy may be produced
in either one or two
pieces. If produced in
two sheets, sheets are
overlapped left on right:
1” for paper and 1/2”
for vinyl. The printed
area of each section is
generally 44”. However,
to avoid splitting copy or
illustration, uneven
widths are also acceptable.
Overage
Fifteen percent over the number of posters
indicated for the program is required for every
16 week period. Copy printed on paper must
be replaced every four weeks.
Delivery
Ten working days prior to posting date.
Other
For maximum durability, conventional or UV
clear top-coating should be applied to poster
surface.
Headlight Displays
Headlight displays are exterior
units which appear on the front of
a bus usually under the windshield.
Copy is inserted into an
aluminum frame attached to the
front of a bus.
Specifications
• Overall Size (Vinyl): 21” H x 44”
W
• Viewing Area: 19 1/8” H x 41” W
• Live Area: 18 1/2” H x 40” W
Production
Printing
Lithography or screen printed or digital.
Stock
Styrene (0.040); corrugated plastic board
(5mm); Meadboard, waterproofed both sides;
vinyl, mounted on corrugated plastic board or
Meadboard; or 70 lb wet
strength paper mounted
on corrugated plastic
board or Meadbord.
Upper corners must be
diagonal-cut 1 1/2”.
Inks
Weatherproof/waterproof
vinyl inks, including
UV inks.
82

Mechanicals
Mechanicals should be scaled 1/4” to 1”.
Digital output resolution 300 dpi.
Sections
Printed in one section.
Overage
Copy printed on waterproofed board or mounted
wet strength paper must be replaced every
four weeks, so 15 percent over the number of
posters indicated for the program is required
for each four week period. Copy printed on
Styrene must be replaced every eight weeks,
so 15 percent over the number of posters indicated
for the program is required for each
eight week period.
Delivery
Ten working days prior to posting date.
Other
Conventional or UV clear top-coating must be
used. Apply top-coat before mounting. Vinyl
copy should be UV coated.
Traveling Displays
Traveling displays may appear on either side of
a bus, usually toward the rear. Copy is inserted
into an aluminum frame attached to the side of
a bus.
Specifications
• Overall Size : 21” H x 44” W
• Viewing Area: 19 1/8” H x 41” W
• Live Area: 18 1/2” H x 40” W
Production
Printing
Lithography or screen printed or digital.
Stock
Styrene (0.040); corrugated plastic board
(5mm); Meadboard, waterproofed both sides;
vinyl, mounted on corrugated plastic board or
Meadboard; or 70 lb wet strength paper
mounted on corrugated plastic board or
Meadbord. Upper corners must be diagonal-cut
1 1/2”.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks.
Mechanicals
Mechanicals should be scaled 1/4” to 1”.
Digital output resolution 300 dpi.
Sections
Printed in one section.
Overage
Copy printed on waterproofed board or mounted
wet strength paper must be replaced every
four weeks, so 15 percent over the number of
posters indicated for the program is required
for each four week period. Copy printed on
Styrene must be replaced every eight weeks,
so 15 percent over the number of posters indicated
for the program is required for each
eight week period.
Delivery
Ten working days prior to posting date.
Other
Conventional or UV clear top-coating must be
used. Apply top-coat before mounting. Vinyl
copy should be UV coated.
Taillight Displays
Taillight displays are exterior units appearing at
83

the rear of the bus, usually under the windows.
Copy is inserted in an aluminum frame
attached to the rear of the bus, or printed on
self-adhesive, pressure-sensitive vinyl which is
affixed directly to the back of the bus.
Specifications
Typical sizes include:
Overall Size: Copy Area:
17 1/2” H x 50” W 16 1/2” H x 48” W
21” H x 72” W 17” H x 69” W
21” H x 70” W 17” H x 66” W
21” H x 68” W 17” H x 64” W
Production
Printing
Lithography or screen
printed or digital.
Stock
For buses requiring
direct application vinyl,
Fasson Transit Vinyl or
Fasson Transit Vinyl II,
FLEXcon BUSmark, or 3M Controltac film
must be used. For framed buses, Styrene
(0.040); corrugated plastic board (5mm);
Meadboard, waterproofed both sides; vinyl,
mounted on corrugated plastic board or
Meadboard; or 70 lb wet strength paper
mounted on corrugated plastic board or
Meadboard. Upper corners must be diagonalcut
2”.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks.
Mechanicals
Mechanicals should be scaled 1/4” to 1”.
Digital output resolution 300 dpi.
Sections
Printed in one section.
Overage
Copy printed on waterproofed board or mounted
wet strength paper must be replaced every
four weeks, so 15 percent over the number of
posters indicated for the program is required
for each four week period. For a posting period
of 90 days or longer, vinyl must be used.
Delivery
Ten working days prior to posting date.
Other
Conventional or UV clear top-coating must be
used. Apply top-coat before mounting. Vinyl
copy should be UV coated.
High Impact Taillight Displays
High impact taillight displays are exterior units
appearing at the rear of the bus. Copy is printed
on self-adhesive, pressure-sensitive vinyl
which is affixed directly to the back of the bus.
Specifications
Common sizes:
• 42” H x 66” W
• 39.75” H x 67.875” W
Production
Printing
Lithography or screen printed or digital.
84

Stock
For buses requiring direct application vinyl,
Fasson Transit Vinyl or Fasson Transit Vinyl II,
FLEXcon BUSmark, or 3M Controltac film
must be used.
Inks
Weatherproof/waterproof vinyl inks, including
UV inks.
Mechanicals
Mechanicals should be scaled 1/4” to 1”.
Digital output resolution 300 dpi.
Sections
Printed in one section.
Overage
Copy must be replaced every 16 to 24 weeks.
Ten percent overage for each four week period
is required.
Delivery
Ten working days prior to posting date.
Other
For maximum durability, conventional or UV
clear top-coating.
Fully Wrapped Buses
A fully wrapped bus describes the technique
whereby a bus is entirely covered by a fullcolor
advertising design. Two different vinyls
are used: one for the bus body and one for the
windows. The latter allows passenger viewing
from the inside while maintaining continuous
design integrity outside. Fully wrapped buses
can also be painted.
Primary Uses
Used to achieve pedestrian and vehicular exposure
by affording the size and color resolution
of a billboard as well as the market penetration
of a moving bus. Customized overall design
provides eye-catching attention and promotional
value.
Availability
Major metropolitan markets. Consult transit
media sellers for current market availability.
Research/Market Information
Estimates of circulation and other marketing
data provided by sellers.
Method of Purchase
Purchased on a four week basis, from three to
12 months. Media cost does not include production,
which varies with the extensiveness of
the design.
85

[BUSES - INTERIOR]
Interior bus cards are positioned in frames
above passenger seats. Some markets offer
backlit panels. In some systems, a single
advertiser can purchase all of the cards on a
vehicle to create a ‘branded bus’. Often used
in conjunction with a fully wrapped exterior or
interior.
Primary Uses
Used to reach bus riders. Longer viewing time
allows for more copy than standard posters
and regular riders mean high frequency.
Suburban portion is effective for reaching
upscale audiences.
Availability
Most of top 100 markets.
Research/Market Information
Circulation estimates are made from monthly
passenger counts provided by local transit
authorities. Other marketing data obtainable
from sellers.
Method of Purchase
Interior car cards are purchased in GRP programs
reflecting the percent of exposure to
total ridership.
Production
Printing
Lithography, digital, and screen printing, halftone
and flat-tone as well as full-color. In small
quantities, copy may be produced photographically.
Stock
5-ply stock, coated one-side, with horizontal
grain.
Mechanicals
Mechanicals should be scaled 1/4” to 1”.
Digital output resolution 300 dpi.
Sections
Printed in one section only.
Overage
Copy must be replaced every 12 weeks, so a
quantity of posters equal to the size of the program
plus 25 percent must be provided for
every 12 week period.
Delivery
Ten working days prior to posting date.
86

[IN-FLIGHT ADVERTISING]
In-flight advertising is available in a variety
of formats. Common formats include
clings, decals and in-flight video.
Selected Formats
In-flight video
Tray tables
Overhead bins
Bulkheads
Primary Uses
Delivers the elusive and highly desirable audience
of business and leisure travelers.
Campaigns are designed to attract attention
and brand companies, products, or services.
Research/Market Information
The Airports Council International, as well as
the Bureau of Transportation Statistics, provide
monthly and annual passenger statistics.
Method of Purchase
Targeted advertising packages are available.
Specifications
Overall Size
Most screens are nine inch LCDs. Clings or
decals are available for other formats and will
vary by airline.
Production
General Requirements
Contact sellers for specific production details,
as they may vary from seller to seller and market
to market for similar formats.
In-Flight Video
The standard creative spot is 30 seconds.
Production lead time for in-flight video is usually
18 days. Creative should be provided in
MPEG format.
Tray Tables/Overhead bins/Bulkheads
Airlines should be contacted for requirements.
87

[MOBILE BILLBOARD DISPLAYS]
Mobile billboard (truck-mounted) displays are
poster panels affixed to aerodynamicallydesigned
vehicles (generally poster size).
Specifically outfitted mobile units with electronic
or video screen displays are available.
Routes can be set by advertisers.
Primary Uses
Used to reach motorists and pedestrians in virtually
any locale in metropolitan markets.
Mobility enables exposure at any time or place
the advertiser may choose. Used as part of a
major media mix for national exposure, event
marketing (conventions, concerts, sports, special
sales/introductions), and as vehicles for
sample distribution at stores or other locales.
Availability
Nationwide. Some sellers offer privately-owned
fleets and control over posting, routing, and
reporting.
Research/Market Information
A GPS-based TAB audit methodology allows
truckside advertising companies to account for
or certify the number of people exposed to an
advertising message.
Method of Purchase
Usually bought by the week or by the day. As
few as one truck can be purchased. Sellers
should be contacted for purchase terms.
Specifications
Approximate size of a poster display with live
copy area 10’ H x 22’ W on 30’ long trucks.
Displays can be stretched vinyl attached by
Velcro fasteners, adhesive-backed masking film
or standard paper and paste.
88

[RAIL SYSTEMS AND SUBWAYS]
Subways and rapid transit systems offer a variety of advertising opportunities. They include
printed and backlit posters on platforms and walkways, entrance displays, station clocks, and
special in-car signage.
Primary Uses
Used to reach commuters in major markets. High frequency due to daily passenger use. Some
displays, such as urban panels, have exposure to street traffic as well. Subways and rapid transit
rail displays can be employed for their targetability and used in conjunction with other out of
home formats.
Availability
Available in major markets, including New York, San Francisco, Chicago, Philadelphia,
Washington, DC, Atlanta, Miami, Cleveland, Baltimore and Buffalo.
Research/Market Information
Circulation estimates are determined by monthly passenger counts provided by transit authorities.
Audience profiles and other marketing information made available from sellers.
Method of Purchase
Offered in a variety of program sizes reflecting levels and periods of exposure.
Formats
In-Station Media
The basic one sheet, two sheet, and three
sheet are located on subway and train platforms
as well as in the track areas of rail terminals.
Urban panels are posters located at subway
entrances. All are printed and dry-mounted
in frames. Dioramas and mini-spectaculars
are giant transparencies, backlit to enhance
visibility.
Clock displays are backlit and located above
platforms or in corridors of terminals.
All locations offer high-traffic exposure to transit
passengers.
Selected Formats
Directional and Commuter Clocks
Station Posters
Backlit Super Squares
King Size Posters
Backlit Posters
King Size Dioramas
Standard Dioramas
Primary Uses
Used to reach commuter audiences. Potentially
longer viewing
time allows for
more copy than
on standard
outdoor
posters. High
frequency is
due to daily
commuting patterns
(as high
as 22 times per
month)
Availability
Most major markets with rapid transit, subway,
or commuter rail systems.
Research/Market Information
Monthly passenger counts supplied by transit
authorities are used to estimate circulation.
Demographic information available from sellers
of the media.
Method of Purchase
Purchased in GRP programs reflecting percent
of exposure to total ridership in four week
units.
89

Station Domination
Advertisers can often buy all or a combination
of the locations in a station often referred to as
a ‘station domination’. Created specifically for
each advertiser, these programs combine such
traditional out of home media as posters, junior
posters, dioramas, and clock displays with specially-designed,
often larger-scale items such
as banners, wall murals, floor graphics, and
actual product displays, which can be interactive.
Interior Car Cards
Interior subway car cards are positioned in
frames above passenger seats. Some markets
offer backlit panels. Rail cards are on bulkhead
walls of most commuter coaches, and near
doors.
Primary Uses
Used to reach subway and suburban rail riders.
Longer viewing time allows for more copy than
standard posters. Regular riders mean high frequency.
Suburban area stations reach upscale
audiences.
Availability
Subway
Major cities including New York, Boston,
Philadelphia, Chicago, Washington, DC,
Atlanta, San Francisco, Miami, Cleveland,
Baltimore, and Buffalo.
Commuter Rail
Major cities including New York, Philadelphia,
Chicago, Washington, DC, Atlanta, and
Buffalo.
Research/Market Information
Circulation estimates are made from monthly
passenger counts provided by local transit
authorities. Other marketing data obtainable
from sellers.
Method of Purchase
Interior car cards are purchased in GRP programs
reflecting the percent exposure to total
ridership.
Production
Printing
Lithography and screen printing or digital, halftone
and flat-tone as well as full color. In small
quantities, copy may be photographically produced.
Stock
Commuter Cards
5-ply (20 point), semi-gloss stock; Flexcon 4mil
adhesive vinyl, top-coated; 4-mil Fascal
1500 series vinyl with R-125 removable adhesive.
Railroad specifications will dictate stock
requirements.
Subway Posters
70 lb or 80 lb wet strength, opaque poster
paper.
Subway Cards
4-ply 18 point CIS Bristol or printed on paper
and dry-mounted on 18 point card stock.
90

Mechanicals
Finished art should be scaled 1/4” to 1”.
Digital output 300 dpi.
Sections
Printed in one section only.
Overage
For commuter card cards, vinyl posters require
a 30 percent overage each four week posting.
Posters printed on 5-ply require an overage of
50 percent each month.Subway cards require
50 percent per four week campaign.
Delivery
Ten working days prior to posting date.
11” x 28’ Interior Car
Card
11” x 46” Interior Car Card
11” x 56” Interior Car Card
11” x 70” Interior Car Card
33” x 21”Interior
Car Card
22” x 21”Interior
Car Card
91

[TAXICABS]
Taxi advertising is a medium with high levels
of recall, reaching a local, business,
and tourist audience en route to and from
airports, hotels, convention centers, sporting
events, shopping centers and restaurants.
Displays are printed on panels affixed
either to the roof or trunk of taxicabs.
Roof units are double-sided and backlit. Trunk
units are printed panels set in frames. Interior
displays, header panels, and full units on the
back of the partition separating the driver from
the passengers are also available in some markets.
Fully wrapped taxis are becoming a popular
media variation. Wrapped taxis use the same
production techniques as fully-wrapped buses.
Some taxis offer digital displays on the roof or
video screen advertising inside the passenger
compartment.
Primary Uses
Used to reach taxi riders, pedestrians, and
vehicular traffic in urban areas.
Availability
Available in major metropolitan markets.
Research/Market Information
Audience estimates and other marketing data
available from sellers.
Method of Purchase
Can be bought in programs based on the number
of taxicabs available in a market.
Production
Printing
Photogelatine preferred for continuous-tone
pictorial matter, silk screen, or lithography for
flat-line copy. Combinations of both work well.
Stock
Taxi Tops
Flexible 4 mil vinyl film with removable acrylic,
pressure-sensitive adhesive, 3MControlac film
160-60, or 0.15 mil translucent polystyrene
with lamination (printed two sides).
Taxi Trunks
70 lb wet strength outdoor paper, mounted on
14-ply waterproof cardboard; 0.040 Styrene;
14-ply waterproof cardboard.
Inks
Weatherproof/waterproof out of home inks.
Overage
Taxi Tops
Copy must be replaced a minimum of every six
months.
Taxi Trunks
Cardboard must be replaced every four weeks;
Styrene must be replaced every eight weeks.
Delivery
Ten working days prior to posting date.
Other
On trunks, a light coating of waterclear varnish
is required.
92

[TRUCKSIDE FLEET DISPLAYS]
Truckside advertising displays consist of
specialized adhesive-backed masking films
and/or non-adhesive, stretched vinyl banners
affixed to special frames on the sides
and/or rear of trucks running regular
routes in metropolitan areas and/or tractor
trailers running Interstate routes.
Some fleet media companies offer online systems
allowing advertisers to pinpoint the location
of their mobile fleet ads in real time. Some
services can also provide data that can be
interfaced with other databases to produce
demographics by route, fleet, or time of day.
Primary Uses
Truckside broadens the reach of a national,
regional, or local campaign; add variety, frequency,
and value to a broadcast campaign, or
as a stand alone campaign. Advertisers also
turn to truckside advertising to penetrate markets
with restricted or limited outdoor advertising,
as well as in saturated markets.
Availability
Nationwide. Third party advertising is brokered
by sellers who have made arrangements with
trucking, production, and installation companies.
Research/Market Information
A GPS-based TAB audit methodology allows
truckside advertising companies to account for
or certify the number of people exposed to an
advertising message.
Method of Purchase
Available for programs involving from one to as
many as 1,000 trucks on established routes,
bought in one to 52 week increments. Also
available for special events (e.g., trade shows,
product sampling programs). Dedicated truck
programs are purchased by the week or by the
month. The advertiser designates the specific
routing of the trucks. Sellers should be contacted
for purchase terms.
Specifications
Size of graphics is limited only by size of truck-
sides, which vary from fleet to fleet. Typical
range:
• Straight Trucks: 16’ to 26’ L x 7’ to 8’ H
• Trailer Vans: 28’ to 53’ L x ~8’ H
Many sellers will resize poster and bulletin creative
at pre-press to fit full side span of
straight trucks and trailer vans. To minimize the
number of templates required when various
truck sizes are used, allow for maximum bleed.
Production
Stretched vinyl. Up to 16’, 14- to 18- oz.,
seamless, coated vinyl substrate stretched
over external framing system on vehicle sides.
Super-wide-format, four-color, or digital.
Inks
Solvent-based, UV-formulated outdoor
inks/acrylic paints.
Overage
None. Banners can be removed and reused at
another time in as little as 30 minutes.
Stock
Changeable or permanent adhesive backed
marking films placed directly on the vehicle
sides and back. Unlimited size construction.
Imaging Method
Digital (inkjet, electrostatic) screen printing,
die/electro cutting pigmented films.
93

Planning for OOH Media
[ALTERNATIVE]
Alternative is just about anything you could imagine. New
products are being developed constantly. The following are some
common examples of this media segment.
94

[AIRBORNE]
Airborne displays are large-format advertising
panels in various shapes and sizes towed by
aircraft over areas of concentrated population.
Skywriting also falls into this category.
Primary Uses
Used to reach large audiences at sports
events, beaches, resorts, and other high consumer
congregation areas to advertise products
and services; introductions; retail or
sports events, motion pictures, concerts,
theme parks, and so forth. These colorful,
attention-getting displays are often employed
in conjunction with other media programs.
Availability
Individual markets as well as national (United
States, Canada, Mexico) coverage via seller
networks.
Research/Market Information
Experience of advertisers as well as other marketing
data available from sellers.
Method of Purchase
Individual contracts developed based on size of
banner, frequency, and market coverage.
Specifications
As large as 100’ W x 30’ H.
Production
Overview
Produced on vinyl, hand painting, and trailing
letters in banners. Can be produced digitally or
from a 4” x 5” transparency.
Delivery
One week for hand paint. Two weeks for cloth
inset and computer paint.
95

[ARENA & STADIUM ADVERTISING]
Common Formats
Scoreboards
Dioramas
Facade Units
Out-of-Town Scoreboards
Dashers
Courtside
Replay Screen Spots
Primary Uses
Use to reach a captive audience with guaranteed
circulation and demographics, excellent
visibility and size impressions, plus the possibility
of TV exposure.
Availability
Currently in numerous sports facilities, stadiums,
and arenas servicing hundreds of teams
in the five major professional sports leagues in
the United States: NBA, NHL, NFL, MLB, and
MLS.
Research/Market Information
Audience statistics available by venue.
Method of Purchase
Normally long-term (one to three years), sometimes
seasonal.
96

[BEACH ADVERTISING]
Common beach advertising includes framed
advertising panels located on the side of protective
sun shelter structures and boardwalk
areas or on the back of lifeguard towers. Sand
imprinting is also available in very select locations.
Primary Uses
Used to reach beach-goers, boardwalkers, bike
riders, joggers, skaters, and strollers.
Availability
In limited beach communities.
Research/Market Information
Marketing data available from sellers.
Method of Purchase
Available in coverage packages from seller.
Specifications
Sun Shelter Displays
• Overall Size: 68 1/2” H x 47 1/2” W
• Copy Area: 67” H x 46” W
Beach Panels
• Overall Size: 26” H x 53” W
• Copy Area: 25” H x 52” W
Production
Printing
Lithography or screen printing. Copy bleeds
four sides.
Stock
0.020 Styrene
Inks
Out of home inks.
Mechanicals
Scaled 1/2” to 1’. Digital output resolution 300
dpi.
Sections
Production in one section only.
Overage
Ten percent per four weeks of posting.
Delivery
Ten working days prior to posting date.
Other
Trim to size, pack flat, or soft-roll. Posters must
be covered with undiluted waterclear varnish.
97

[BLIMPS AND CUSTOM INFLATABLES]
Blimps are lighter-than-air crafts that carry
sponsor messages over major metropolitan or
resort areas.
Inflatables are custom-designed balloons, usually
taking the shape of a product or character
in larger-than-life size. Some are affixed to bulletins,
others are freestanding units placed at
special events.
Primary Uses
Blimps
Blimps are usually part of a corporate image or
public relations program to deliver advertising
messages to millions at sports venues or other
events. Added exposure is afforded by television
coverage of events. Combines both media
and promotional values.
Inflatables
Inflatables are used to attract attention at participant
events such as sports, concerts,
exhibits, store openings, and special sales. On
billboards, they add dramatic 3D eye appeal.
Research/Market Information
Available under special contract arrangements
and scheduling.
Method of Purchase
Blimps
Purchased in packages that usually include
lease and operation of the airship, administration
of corollary promotions, broadcast TV
equipment, and so forth. Creative development
costs are additional.
Inflatables
Usually custom-ordered and administered by
the advertiser’s promotion department.
98

[CARTONS AND CUPS]
Advertising on paper coffee cups or sleeves
distributed through food service establishments
(diners, restaurants, markets, street
vendors, etc.) and tops of pizza boxes distributed
to pizzerias.
Coffee cup advertising places an advertiser’s
message directly into the hands of consumers,
who in turn become walking billboards for a
product as they carry their cup with them from
point of purchase throughout its use.
Primary Uses
Used to reach consumers by placing the advertising
message in homes, offices, and directly
in consumers’ hands. Used for targeting specific
demographic groups in specific locations or
mass market coverage of an entire area. Also
used for reaching the advertising community by
targeting distribution around advertising agencies.
Availability
All markets.
Research/Market Information
Audience estimates and other marketing data
available from sellers.
Method of Purchase
Sold by targeting specific neighborhoods
(demographic, geographic, psychographic, or
ethnic targets) or entire market based upon
number of cups or pizza boxes purchased.
Specifications
Cup Sizes (overall)
8 oz., 10 oz., 12 oz., 16 oz., etc.
Pizza Box Sizes (overall)
10”, 12”, 14” 16” and 18”
Production
Printing
Flexographic (one to five colors for cups, one
to four colors for pizza boxes).
Material
Cups
18 pt. SBS white paper with poly lining on one
side.
Pizza Boxes
White corrugated or white-coated paper board.
Overage
Five to 10 percent depending on quantity
ordered.
99

[DRY CLEANING BAGS]
Ads printed on garment bags, hangers, and
paper covers used in dry cleaning, for the distribution
of coupons and product samples
hand-to-hand.
Formats
Plastic/Poly Garment Bags
Used by dry cleaners to drape
customers’ clean clothing.
Paper-Covered Hangers (Caped
Hangers)
Used by dry cleaners to hang
customers’ clean clothing.
Paper Cover Sheets
Used by dry cleaners to cover
customers’ clean clothing (garment
bags).
Sheets or Plastic Pouches
Features advertiser’s selected coupon and/or
sample and suitable for hanging on hangers or
stapling to garment bags.
Plastic Sample Bags
Contains samples of products and/or coupons
from one or more advertisers and suitable for
hanging on hangers or stapling to garment
bags.
Posters
Feature advertiser’s selected image predominantly
displayed inside dry cleaning establishments.
Primary Uses
Used to reach busy consumers running everyday
errands. Dry cleaning locations based on a
variety of consumer data including: demographics,
lifestyle, stage in life cycle, purchasing
patterns, or planned purchases
can be selected.
Availability
Locations nationwide sold on a
monthly basis.
Research/Market Information
Contact vendor for consumer
surveys and other recall
research.
Method of Purchase
Purchased by ZIP code, county,
DMA, region, or state.
Design
All digital formats acceptable
Production
Flexographic Inline printing using water-base
inks.
100

[GAS STATION ADVERTISING]
The most common form of gas station advertising
is nozzle advertising. They are lightweight,
durable plastic advertising units that hold 4color
ads and fit over existing gas nozzles.
Digital screens on gas pumps are sometimes
available in select markets. Digital screens
positioned on top of gas pumps are also available
in some markets.
Primary Uses
Used to reach a captive audience of drivers
composed of all ages, genders, income levels,
races, and ethnicities during a three to five
minute fueling process. Advertises products
sold at convenience stores, supermarkets,
mass merchandisers, as well as non-store
products and services, such as credit cards,
websites, motels, automobiles, insurance, etc.
Increases store traffic and sales.
Availability
Locations nationwide, wherever gas is sold:
gas stations, convenience stores, supermarkets,
and mass merchandiser locations.
Research/Market Information
Audience estimates from industry associations
and publications including the National
Association of Convenience Stores (NACS),
Convenience Store News, National Petroleum
News (NPN), and from retail partners.
Effectiveness based on syndicated and custom
research using Audis & Surveys, Nielsen, SIRS,
and other recognized research firms.
Method of Purchase
May be purchased nationally, regionally, by
state, or selected DMAs or by specific chain.
Cycles are monthly.
Gas Nozzle Specifications
5.312” H x 3.875 W
Design
Elliptical shape
Production
Printing
All artwork is printed 4-color UV- resistant
process ink with Aqqueous Coating.
Stock
10 pt. Polystyrene with 3 percent rubber mix.
Gloss one side.
Inks
PMS colors must be created from process.
Metallics require surcharge.
Sections
Production in one section.
Overage
Ten percent is recommended.
101

[GENERAL PLACE BASED ADVERTISING]
Place based displays encompass a wide variety
of formats that are specially located where particular
groups congregate for a variety of purposes.
Generally poster-type in form, some of
the most common places where these displays
are found include the restrooms of restaurants
and nightclubs, in the common areas of health
clubs and bars, on college and high school
campuses, on military bases, in convention
centers, in arcades, in doctors’ waiting rooms,
and at rest areas. Digital screens and video
networks are also available.
Primary Uses
Used to reach selected audiences of men,
women, or children in locations that afford
exposure; employed by local as well as national
advertisers.
Availability
Selected major markets; often purchased
through a regional or national placement service.
Research/Market Information
Sellers provide audience and marketing information.
Method of Purchase
Usually bought in selected location showings
on a monthly and location specific basis.
Specifications
Sizes available include standard poster formats
and smaller units.
Production
Printing
Offset printing.
Stock
18 pt. stock with environmentally friendly aqueous
coating.
Inks
4-color process, 2-color black and PMS 300.
102

[GOLF COURSE ADVERTISING]
Several different ad formats are available at
golf courses. The most common advertising
opportunities include interactive computer
screens mounted in golf carts and golf tee ad
displays.
Golf cart screens provide golfers with the exact
distance to the hole, details about the fairway
and putting green slopes, hazard information,
and tips from pros or playing each shot. Fullcolor
placard placed on tee dividers are within
direct sightline of golfers.
Primary Uses
Used to reach an upscale, high-demographic
profile audience targeted to consumers with
exceptional purchasing power and corporate
executives with decision-making authority.
Used to support brand awareness, customer
loyalty, and call to action campaigns.
Availability
Located at hundreds of resorts; private and
high-end daily fee courses throughout the
United States.
Reach
Millions of golfers annually who spending
approximately four hours per round at a golf
course.
Method of Purchase
Golf cart screen ads are sold by hole per
month with a one course minimum. Placards
are sold nationally, regionally, or on a per
course basis.
Specifications
Golf Cart Screens
High resolution screens come in variable sizes.
Image size 640 x 480, 72 dpi or High Definition
in some locations. Full motion video, animated
graphics, and still frame formats are used.
Placards
Typical Overall size: 18” H x 24” W. Four-color
process on one side produced on 0.060 white
opaque Styrene. An overage of 10 percent is
required.
103

[MARINE VESSELS]
Enormous sails or spinnakers, both working
and ornamental, attached to marine vessels of
various sizes and dimensions.
Primary Uses
Vessels equipped with advertising sails follow
nautical courses close to shore and in close
proximity to areas of mass congregation by
people. These places include beaches, piers,
harbors, or city waterfronts.
Availability
Oceanside or lakeside communities and along
large rivers. These “sailing billboards” are available
upon request and are generally offered to
advertisers based on specific campaign objectives
and are subject to local regulatory ordinances.
Specifications
The size of sails will vary depending on the
specific dimensions of a vessel.
Production
For working on sails or spinnakers, standard
marine fabrics are used with designs hand
painted or screen printed directly onto the sail
fabric. Ornamental sails are produced using
opaque PVC or vinyl material that can be hand
painted, screen printed, or computer printed in
the same manner as a permanent bulletin.
104

[PARKING GARAGE ADVERTISING]
Parking garage advertising consists of variable
sized, full-color images affixed to the interior
walls of parking structures. Located in the
garages of office buildings, movie theaters, airports,
shopping malls, hospitals, universities,
and government buildings, among other venues.
Advertising on parking lot stripes is also
available in select markets.
Primary Uses
Used to reach vehicular and pedestrian traffic
in all types of markets. Used for target reach
of specific demographic or masses based on
type of property and location.
Availability
Typically available in the largest 25 markets in
the United States and Canada.
Research/Market Information
Specific marketing data available including site
profiles and vehicular counts.
Method of Purchase
Sold by market or national buy.
Specifications
Parking Garage Murals
Typically 6’ H x 12’ W, but sizes may vary and
can be customized according to advertiser
requirements.
Parking Lot Stripes
Typically 5” H x 222” W. Some parking stripes
are audio capable.
Shelter-Sized Units
• Overall Size: 69” H x 47” W
• Copy Area: 67” H x 46” W
Design
Parking garage advertising is
limited only by size of advertising
surfaces. For parking lot
stripes, the focus of the message
should be placed near
the driver-side door. Creative
should avoid using dark colors
that could blend in with the
ground.
Shelter-sized
units may use
full range of colors
and photographicreproduction.
Where
applicable,
design should consider vertical format for best
visual communications. Important to consider
effect of backlighting for highlighting.
Production
Parking Garage Murals
Printing
Printed from digital art files on large-format
printers.
Sections
Production on 4’ x 8’ sections. Cut and paneled
to any size or shape.
Stock
High-gloss vinyl, mounted on sintra board and
sealed with anti-graffiti over laminate.
Shelter-Sized Units
Consult seller for specific requirements.
Printing Stock
Electronic
2 pieces of paper, laminated. Screen print or
lithography: 8.5 point Styrene or Opaline.
Photographic
Kodak Duratrans
Inks
Specify fade-proof inks.
Mechanicals
Scaled 1/4” to 1” or full-sized digital output
resolution 300 dpi.
Sections
Produced in one section only.
Overage
Ten to 15 percent per month of posting.
105

[PLACE BASED DIGITAL NETWORKS]
A broad category, this section provides information
on some common formats. These indoor
and some out of home video screens are often
internet-enabled, seen in major markets
throughout the United States as well as internationally,
and provide entertainment, news,
weather, sports, and targeted advertising to
consumers -- while they wait in line or in elevators,
check-out counters, coffee shops, lobby
shops, convenience stores, supermarkets, gas
pumps, and transit hubs. The screens can often
be updated instantly and targeted precisely to
desired demographic audiences.
Primary Uses
National and regional advertisers use video
screens to build brand awareness and reinforce
existing advertising campaigns to targeted and
mass audiences.
Availability
Located in major markets.
Research/Market Information
Monthly register receipt totals from venue
partners are often tabulated for audience
measurement purposes. Demographic profiles
of individual sites are based on precise analysis
of census-based data. Research providers
include Audits & Surveys Worldwide,
Scarborough, Market Statistics, and MapInfo.
Method of Purchase
Targeted advertising packages are available.
Specifications
Overall Size
High resolution screens come in variable sizes.
Graphics
Image size 640 x 480, 72 dpi or High Definition
in some locations.
Design
Full motion video, animated graphics, and still
frame formats are used.
Production
Creative may be sent digitally.
106

[PROJECTION]
Projection media presents enormous displays
outdoors or inside commercial venues.
Projection requires no physical structure or
production other than the static artwork or
video content. It is ideal for reaching large
groups that congregate in entertainment or
shopping areas. Theoretically, any surface
can accommodate projection media.
Primary Uses
Used to reach broad audiences. Employed
by local as well as national advertisers.
Availability
Anywhere but dependent on local ordinances.
Research/Market Information
Sellers provide audience and marketing
information.
Method of Purchase
Usually bought for selected locations on a
weekly or monthly basis.
Specifications
Static slides or video content.
107

[SKI AREA ADVERTISING]
Common Formats
Lift Tower Displays
Clock/Lift Ads
Poster Ads
Electronic Information Stations
Skier Transit Systems
Panorama Ads
Primary Uses
Used to reach upscale consumers with active
lifestyles at centralized resort locations.
Availability
Over 250 ski resorts in the United States
reaching 8 million of the estimated 12 million
skiers annually.
Method of Purchase
Purchase is made by networks of resorts covered
for an entire ski season.
Specifications
Lift Tower Displays
• Overall Size: 24” H x 48” W
• Copy Area: 20” H x 46” W
Clock/Lift Ads
• Overall Size: 19 5/8” H x 39 5/16 W
• Copy Area: 18 1/4” H x 38 1/2” W
• Mechanical Size: 4” x 8”
Poster Ads
• Overall Size: 46 5/8” H x 33” W
• Copy Area: 45 3/4” H x 32” W
• Mechanical Size: 8” x 11 5/16”
Electronic Information Stations
• Overall Size: 12” H x 22” W
• Copy Area: 9 1/2” H x 19 1/2” W
Skier Transit Systems
• Overall Size: 11” H x 22” W
• Copy Area: 9” H x 21” W
Production
Lift Tower Displays
Printing
Produced by seller using special outdoor inks
on UV-inhibiting Mylar. Chromalin proof supplied.
Displays are then glued to 1/2” MDO
plywood, edges sealed. Production requires
camera-ready art or 8” x 10” transparency. If
final films are supplied, they should be color
corrected, 133 line film, right reading, emulsion
side down.
Mechanicals
Scaled to half-size. Allow for trim size of 23
1/2” H x 47 1/4” W.
Clock/Lift Ads/Poster Ads/Panorama Ads
Printing
4-color requires camera-ready art or transparencies.
Art should be on flexible backing to
allow for scanning.
108

[TRASH RECEPTACLES]
This format has up to four framed posters on a
round or rectangular trash container.
Distribution is extensive and varies widely
within municipalities and public and private
sites such as streets, airports, rail/bus stops,
malls, colleges and numerous other locations.
Primary Uses
An ubiquitous format
which can reach any
population segment.
Used to reach pedestrian
and vehicular
traffic in large and
mid-size metropolitan
markets, for targeted
reach of specific
demographic segments,
or for mass
markets. Used at
point of sale in or
near retail outlets,
gas stations, supermarkets,
recreational
venues, and amusement attractions. Useful as
a promotional tool at events, exhibitions, and
trade shows.
Availability
Contact sellers.
Research/Market Information
Audience estimates and other marketing data
per market available from sellers.
Method of Purchase
Sold in weekly GRP packages.
Specifications
Contact sellers for size information.
Design
Vertical poster format.
Scales well from
most existing vertical
creative.
Production
Printing
4-color process.
Inks
Any as appropriate
for the above stock.
Sections
Single poster format
multiples of up to four per unit.
Overage
Ranges from 5 percent for a two month contract
to 25 percent for 10-12 months.
109

Planning for OOH Media
[CINEMA]
Cinema is compelling entertainment the whole family can enjoy and
is a popular leisure activity. The following are some common
examples of this media segment.
110

Cinema delivers advertisers a targeted marketing
opportunity in a unique environment with an
attentive audience, with multiple consumer
touchpoints, and the flexibility for entertaining
pre-shows or lobby displays.
Primary Uses
The cinema audience is unique in that it is
attentive, engaged, and comprised of young,
affluent, and well educated consumers who
aren’t distracted by telephones, remote-control
devices, electronic media, or many other daily
tasks. Cinema viewers are a captive audience.
Availability
Cinema is available in all markets. It is often
purchased through a regional or national placement
service.
Research/Market Information
Sellers provide audience and marketing information.
Method of Purchase
Cinema is usually bought as a network of theatres
for multiple weeks.
Specifications
Many lobby display options are available.
Cinema advertising content delivery systems,
which determine how the ads are displayed on
screen, continue to evolve. Theatres have any
number of options available to them including:
35mm slides, film (rolling stock), Standard
Digital, and High Definition (HD) Digital.
Production
Lobby and other on-premise advertising varies
from location. Discuss options with sellers.
Some theatres offer pre-show advertising using
standard 35mm slides or video.
Digital Delivery
The growth in cinema advertising is attributed
in part to the introduction of digital platforms.
The digital pre-show format uniquely enables
cinema advertising providers to offer programs
that seamlessly screen advertising and entertainment
content.
Digital content offers:
• lower production and shipping fees
• flexible flighting practices
• a high-quality on-screen presentation
• accurate delivery reporting
Available in most theatres with digital delivery,
Standard Definition offers a pixel resolution
that meets general standards and usually
refers to an NTSC (or PAL) compatible video
format consisting of 480 active lines of interlaced
video (576 lines for PAL).
High Definition (HD) usually refers to a video
format consisting of either 720 active lines of
progressive video or 1080 active lines of either
progressive or interlaced video, which results in
a 30 to 50 percent increase in visual quality
and 100 percent more detail than standard
images. HD provides expanded capabilities to
show live and long-form HD content including
concerts, sports, and other entertainment
events.
111

[ABOUT US]
For more information visit http://www.oaaa.org/about/default.aspx
The Outdoor Advertising Association of America, Inc. is the trade association representing the
out of home advertising industry. It is dedicated to leading and uniting a responsible out of home
advertising industry that is committed to serving the needs of advertisers, consumers, and communities.
The nearly 800 OAAA member companies represent more than 90 percent of industry
income, and donate space to charitable organizations in excess of $400 million each year.
OAAA’s strategic focus is on government relations, marketing, communications, membership and
operations.
1850 M St. NW, Suite 1040 Washington, DC 20036 (202)833-5566 www.oaaa.org
Established in 1933, the Traffic Audit Bureau for Media Measurement Inc. is a non-profit organization
with a historical mission to audit the circulation of out of home media in the United States.
Recently TAB’s role has been expanded to lead or support other major out of home industry
research initiatives. Governed by a tripartite board comprised of advertisers, agencies, and media
companies, TAB acts as an independent auditor for traffic circulation in accordance to guidelines
established by its Board of Directors. These rules govern how audits are conducted as well as
how circulation figures are reported.
271 Madison Avenue, Suite 1504 New York, NY 10016 (212)972-8075 www.tabonline.com
112

[ADDITIONAL RESOURCES]
Advertising Council, Inc.
A non-profit organization providing the media industry with public service campaigns on a number
of critical social issues, especially related to children.
261 Madison Avenue
New York, NY 10016
(212) 922-1500
Advertising Research Foundation (ARF)
The preeminent professional organization in the field of advertising research.
641 Lexington Ave., 11th Floor
New York, NY 10022
(212) 751-5656
American Advertising Federation (AAF)
An advertiser advocacy group with a grassroots network of more than 50,000 affiliate members
including advertisers, agencies, media companies, local advertising association, and college
chapters.
1101 Vermont Ave., N.W., Suite 500
Washington, DC 20005
(202) 898-0089
113

American Association of Advertising Agencies (AAAA)
A national organization of advertising agencies representing nearly 600 agencies.
405 Lexington Avenue, 18th Floor
New York, NY 10174
(212) 682-2500
Association of National Advertisers (ANA)
An organization of national advertisers including more than 500 major US corporations, and
accounting for 90 of the largest 100 users of advertising.
708 Third Avenue
New York, NY, 10017-4270
(212) 697-5950
Duke University’s John W. Hartman Center for Sales, Advertising & Marketing History
The repository of the OAAA’s archive collection. The archives are available to the public.
Duke University Special Collections Library
Box 90185
Durham, NC 27708
(919) 660-5836
Foundation for Outdoor Advertising Research & Education (FOARE)
FOARE is a non-profit education fund administered by OAAA to enhance and expand education
and research.
1850 M Street, NW, Suite 1040
Washington, DC 20036
(202) 833-5566
114

Kantar Media
A multi-media revenue tracking company that provides monthly, quarterly, and annual spending
data for outdoor advertising.
100 Park Avenue
4th Floor
New York, NY 10017
(212)991-6000
Miller, Kaplan, Arase & Co.
A media auditing company that provides aggregated industry and revenue data.
4123 Lankershim Blvd.
North Hollywood, CA 91602
(818) 769-2010
Nielsen Monitor-Plus
A media tracking company that provides quarterly and annual advertising revenues for all out of
home advertising categories.
2 Trap Falls Road
Shelton, CT 06484
(203) 944-1283
Standard Rate and Data Service (SRDS) Advertising Source
SRDS publishes a print and online service providing complete planning information for out of
home and alternative media vehicles. Listings contain standardized ad rates, dates, contact information,
and links to web sites that provide additional facts.
1700 Higgins Road
Des Plaines, IL 60018
(847) 375-5000
115

[GLOSSARY]
For a full list of out of home terms, visit
http://www.oaaa.org/marketingresources/industrystandards/outdoorterms.aspx
30-Sheet Poster
product or category. (see Noticing).
See Poster
8-Sheet Poster
See Junior Poster
[A]
Allotment
The number of units required to achieve a
desired GRP level in a market. Traditional
poster panel showings consist of a quantity of
displays that will vary by the size of the audience
and the size of the market population.
Alternative Media
Out of home media that are used to create
customized advertising programs that generally
target specific consumer audiences. Alternative
out of home media include, but are not limited
to: arena and stadiums, interior placed based,
convenience stores, video networks, health
clubs/restaurants/bars, exterior placed based
(i.e. airborne, marine, resorts and leisure).
Approach
The distance measured along the line of travel
from the point where an advertising unit first
becomes fully visible to the point where the
copy is no longer readable.
Audience Delivery
The size of an audience that notices out of
home advertising usually measured over one or
more weeks. Audience delivery can be represented
using several definitions, including:
EYES ON Impressions (EOIs), EYES ON ratings,
gross impressions or rating points, and
reach & frequency.
Awareness
The recalled recognition of an out of home
advertising message by an individual or audience.
Ad awareness is influenced by creative
copy and the consumer’s relationship with the
[B]
Billboard
Large format advertising displays intended for
viewing from extended distances, generally
more than 50 feet. Billboard displays include,
but not limited to: posters, junior posters,
spectaculars, and bulletins.
Bleed
Display area which extends beyond the live
copy area, often to the edge of the finished
size.
Bulletin
The largest standardized out of home format;
typically measuring 14’ x 48’ in overall size.
Sold either as permanent displays or in rotary
packages.
[C]
Cable System
Installation hardware used to install and display
single sheet posters onto billboard units using
cable and pulleys.
Campaign Delivery
The audience delivered by an out of home
advertising schedule, expressed in EYES ON
Impressions (EOIs) and/or EYES ON Gross
Rating Points (GRPs). Reach and Frequency
can also be used. Campaign delivery is most
valuable when expressed using the demographic
target and market definition of the advertiser.
Cancellation Period
A specified period of time when a contract can
be terminated.
CBSA (Core Based Statistical Area)
Defined by the United States Office of
116

Management and Budget, a metropolitan area
within a larger markets (e.g. DMA) containing
a substantial population nucleus, together with
adjacent communities having a high degree of
economic and social integration with that core.
CBSA’s are a standard geography for buying
and selling media.
Character Height
Height of the largest letter that can be displayed
on a message center; height of a sevenpixel
high character according to center-to-center
spacing (e.g., 3.0” center-to-center spacing
x 7 pixels = 21” character height).
Charting
The process of selecting and scheduling individual
unit locations to maximize out of home
advertising objectives.
Clip System
Installation hardware used to install and display
single sheet posters onto billboard units using
clips and springs.
Color Accuracy
Conformity or exactness of color match, clarity
and accuracy within the individual primary color
groups of red, green and blue.
Commercial Audience
Audience estimates of people exposed to actual
advertising. EYES ON is the first media
measurement system providing true commercial
audiences of out of home advertising
rather than audiences that are merely exposed
to editorial content (e.g. read a magazine, read
a newspaper or tuned to a TV program, etc.)
Continuity
The elimination of gaps in a media schedule by
maximizing the duration of a campaign, ideally
52 weeks.
Contrast Ratio
Ratio between the brightness or intensity
measurement taken when the screen is displaying
a blank video signal and a full, white
video signal. This ratio determines the readability
of the display so as to measure “depth” of
an image or as a measure of how well the
image can be seen in high ambient light.
Convenience Store Display
Point-of-purchase displays, typically the same
format as transit shelter posters that are positioned
at the entrance of convenience stores.
Co-op
The sharing of advertising costs between a
manufacturer and distributor or dealer.
Copy
The advertising displayed on an outdoor unit.
The quality of the ad’s creative design can
impact the number of people who notice it (see
Noticing).
Copy Area
The viewing area on an outdoor unit.
Coverage
1. Based on the defined geographic parameters
of a market, expressed as DMAs, CBSAs,
groups of counties, or individual counties, also
known as coverage area.
2. Coverage can also be the percent of the
population within any of these geographic
areas that can be reached by the total inventory
of a media operator.
CPM - Cost Per Thousand
1. An EYES ON CPM is the cost of delivering
1,000 impressions from individuals who notice
the advertising on displays in a market.
2. Traditional measures used by other media do
not provide EYES ON CPMs, but rather the
only cost of delivering 1,000 opportunities-tosee-advertising,
i.e. people who may or may
not see the advertising.
CPP - Cost per Gross Ratings Point
The cost of advertising exposure opportunities
that equals one gross rating point in any geographically
defined market or the delivery of inmarket
EYES ON Impressions equal to one
percent of the population (gross).
117

Creative
See Copy
Creative Brief
Detailed marketing objectives that pertain to
the design of an out of home campaign.
Cross-Read
An advertising display which is visible across
traffic lanes on the opposite side of the roadway.
Custom Market
Any market used by a plant or advertiser other
than a DMA or CBSA. Custom markets are
used by plants or advertisers to highlight out of
home delivery within relevant geographic
areas. Custom markets are generally counties
or groups of counties.
[D]
DEC - Daily Effective Circulation
The average number of persons, in cars or
other vehicles, passing and potentially exposed
to an advertising display for either 12 hours
(un-illuminated - 6:00am to 6:00pm), 18 hours
(illuminated - 6:00am to 12:00 midnight) or 24
hours. While DECs remain a valuable measure
of circulation, they are not a measure of the
EYES ON audience and no longer endorsed as
a buying and selling currency by the TAB.
Demographic Audiences
Target audiences used to plan, buy and sell
media. EYES ON demographic target audiences
include age, sex, ethnicity and income.
Dimming
Changing the brightness of a display, or the
capability of increasing or decreasing the overall
display intensity. The brightness level should
be highest during the day to compete with daylight,
and lower at night.
Display Period
The interval of time when an out of home
advertising campaign is run.
Digital Billboard
Billboards that can change advertising content
using addressable technology. Content is static
with multiple advertising message presented in
rotation every few seconds.
Digital Place Based Media
Out of home screens that change advertising
content using addressable technology and
excluding digital billboards. Digital place based
media can include static messages or full
motion video with an audio track.
Distribution
The strategic placement of out of home units
across a market. The distribution of units will
impact the reach of the campaign and the
demographic profile of the audience that is
delivered.
DMA – Designated Market Area
A television market area defined by Nielsen
Media Research that is also used by advertisers
for multi-media planning. DMAs are nonoverlapping
and cover the entire United States.
[E]
Efficiency
The degree of value delivered to an audience
relative to it’s the audience that is delivered
and cost. Usually expressed as either CPM
(cost per thousand) or CPP (cost per gross
rating point).
Embellishment
Letters, figures, mechanical devices or lighting
that is attached to the face of an out of home
unit to create a special effect.
Emerging Media
Recently developed or introduced out of home
formats.
EYES ON Audience Measurement
TAB’s audience measurement system for buying
and selling out of home media. EYES ON is
unique in media measurement in that it provides
counts of demographic audiences actually
noticing the advertising on out of home
118

displays.
EOIs - EYES ON Impressions
The average number of persons who are likely
to notice an ad on an out of home display for
either 12 hours (un-illuminated – 6:00 am to
6:00 pm) or 18 hours (illuminated – 6:00 am to
12 midnight). Unless specified as In-Market,
EOIs include all persons who notice the unit,
regardless of the origin of their trips. EOIs are
reported in weekly increments.
Exposure
See Noticing
The reasonable opportunities for advertising to
be seen and read.
Extension
An area of copy made as a cut out that falls
outside the basic restraints of a bulletin or premiere
panel face.
[F]
Face
The surface area on an out of home unit where
advertising copy is displayed. A structure may
have more than one face.
Facing
The cardinal direction that an out of home unit
faces. As an example, a north facing bulletin is
viewed by vehicles traveling south.
Finishing
The method used to hem the edges of posters
and bulletin. Finishing can include welded pockets
or other operational techniques for hanging
substrates onto billboard units.
Flight
The length of an advertising campaign, sometimes
divided into distinct segments over the
course of weeks.
Frame
A static display screen on an LED display, or a
metal attachment around the edges of a poster
face.
Frequency
1. The average number of times an individual
notices an out of home advertising message
during a defined period of time. Frequency in
outdoor advertising is typically measured over
a four week period, but can be reported for any
campaign length.
2. For other media, it is the average number of
times an individual has a opportunity to see an
advertising message during a defined period of
time.
[G]
Gross Impressions
1. The sum of EYES ON Impressions delivered
against a demographic audience for an advertising
schedule. Unless specified, they include
all individuals; regardless of the origins of their
trips (see In-Market Impressions).
2. The Gross Impressions reported for other
media are estimates of opportunity to see the
advertising to rather that those who notice it.
GRPs - Gross Rating Points
The total number of In-Market EYES ON
Impressions delivered by an out of home
schedule expressed as a percentage of a market
population. One rating point represents
Impressions equal to 1 percent of the market
population. In the calculation of GRPs, total
EOIs must first be reduced to the In-Market
EOIs of individuals who live in the defined market
and are part of that market’s population.
[H]
[I]
Illuminated Unit
An out of home unit equipped with lighting that
provides night time illumination of an advertising
message, usually from dusk until midnight.
The EOIs for an illuminated unit are calculated
using an 18 or 24 hour viewing period.
119

Impression
See EOI
In- Market EOIs - In-Market Impressions
The average number of times people that live
in a defined market (e.g. a DMA or CBSA) are
likely to notice an ad on an out of home display.
In-Market Impressions exclude
Impressions derived from people who travel
into or through the market, but live outside of
it. In-Market Impressions are the audience from
which GRPs are calculated.
[J]
Junior Poster
A standardized poster format, typically measuring
6’ x 12’; formally known as an 8 Sheet.
[K]
[L]
Line of Sight
The simultaneous viewing of more than one out
of home unit.
Location List
A listing of all locations and displays included
in a specific out of home program.
[M]
Mall Displays
Backlit advertising structures located at strategic
points in shopping malls; usually two or
three-sided.
Markets
Geographically defined areas used to buy and
sell media. Standard markets definitions are
DMAs and CBSAs. Out of home media companies
and advertisers also use custom geographies
based on their geographic coverage of
their panel or product sales distribution areas
respectively.
Mobile Billboard
A truck equipped with one or more poster
panel units. The truck can either be parked at
specified venues or driven around designated
localities.
[N]
Noticing
As derived from TAB’s visibility research, a
physiological or behavioral measure of actual
eye contact with an out of home media unit
and its advertising. EYES ON audiences are
derived from the adjustment of circulation or
passing to those who notice the advertising.
[O]
Off-Premise Sign
A sign that advertises products or services that
are not sold, produced, manufactured or furnished
on the property where the sign is located.
An out of home display is an off-premise
sign.
On-Premise Sign
A sign that advertises products or services that
are sold, produced, manufactured or furnished
on the property where the sign is located.
Outdoor Media
The term primarily associated with billboards,
street furniture, transit and alternative media.
OOH - Out Of Home Media
All media formats specifically intended to reach
consumers outside the home.
Out of Home Video Networks
Place-based video networks that offer editorial
content and video advertising. They include instore,
health clubs and other venues.
Override
The continuation of an out of home advertising
program beyond a contracted period. An override,
if offered by an out of home company, is
provided at no additional cost to an advertiser.
[P]
Percent Composition
The percent of the total audience for a display
or schedule that a brand target demographic
group comprise (e.g. 65 percent of the total
120

EOIs for Adults 18+ were Men 24-65).
Permanent Bulletin
A bulletin that remains permanently located at
a specified site throughout the term of a contract,
usually for long periods of time. A permanent
bulletin program can build strong brand
recognition in specific market areas.
Phone Kiosks
A structure that houses public telephones and
offers advertising displays.
Plant
A term used to identify a media company and
its entire out of home advertising inventory in a
market.
Plant Defined Market
A custom market defined by a plant usually
established based on the geographic coverage
of its inventory.
Pockets
Welded pockets are added to posters and bulletins
for hanging substrates onto billboard
units.
Polyethylene (PE)
Polyethylene is a widely used plastic thermoplastic
polymer consisting of long chains of
monomer ethylene. It is used to make single
sheet posters or other billboard substrates and
is recyclable.
Polypropylene (PP)
Polypropylene is a widely used thermoplastic
polymer with an intermediate level of crystallinity
between that of low-density and highdensity
polyethylene. It is used to make single
sheet posters or other billboard substrates and
is recyclable.
Polyvinyl Chloride (PVC)
Polyvinyl Chloride is a thermoplastic polymer
constructed of repeating vinyl groups or
ethenyls having one of their hydrogens
replaced with a chloride group. The vinyl is
commonly used as an advertising substrate for
bulletins and some poster products.
Population
The total number of people who live within a
market. The population can be segmented by
key demographic groups. Populations (also
referred to as universe estimates) of defined
geographic areas are the bases from which rating
points are calculated.
Poster
A standardized poster format, typically measuring
12’3” x 24’6”; formally known as a 30-
Sheet Poster.
Posting Date
The date when a poster program is scheduled
to commence. A five day leeway is customary.
Posting Instructions
Detailed directions provided to an out of home
company by an advertiser or agency assigning
specific copy to specific locations.
Posting Window
A window of five working days after a scheduled
posting date in which all contracted locations
can be posted without penalty.
Premiere Panel
See Wrapped Poster
Premiere Square
See Wrapped Square Poster
Pre-ride
An in-market field check of available panels to
determine locations for a specific GRP/showing.
POP - Proof-of-Performance
Certification by an out of home company that
contracted advertising services has been rendered.
EYES ON audience weight (audience
delivery) is an essential component of POP.
[Q]
[R]
121

Rating Points
1. The total number of in-market EYES ON
Impressions delivered by an out of home display
expressed as a percentage of a market
population. One rating point represents impressions
equal to 1 percent of the market population.
In the calculation of GRPs, total EOIs
must first be reduced to the in-market EOIs of
individuals who live in the defined market and
are part of that market’s population base.
2. Rating points for other media are based on
opportunity to see audiences and not EYES
ON audiences.
Reach
1. The approximate percentage of a target
audience’s population who notice an advertising
message at least once during an Out of
Home campaign.
2. For other media, the percentage of a target
audience’s population who has an opportunity
to see an advertising message at least once
during an advertising campaign.
Recycle
Recycling involves processing used materials
into new products to prevent waste of potentially
useful materials, reduce the consumption
of fresh raw materials, reduce energy usage,
reduce air pollution and water pollution, and
lower greenhouse gas emissions as compared
to virgin production. Single sheet posters are
recyclable.
Reduce
Reducing is to use fewer raw materials.
Reuse
Reuse is to use an item more than once. This
includes conventional reuse where the item is
used again for the same function, and new-life
reuse where it is used for a new function. In
contrast, recycling is the breaking down of the
used item into raw materials which are used to
make new items. Some PVC vinyl is reused.
Ride
The physical inspection of the units that com-
prise an out of home program in a market -
either pre-buy or post-buy.
Rotary Bulletin
A standardized 14’ x 48’ bulletin moved to different
locations in a market at fixed intervals,
usually every 60 or 90 days, to achieve greater
reach in the market.
[S]
Showing
The traditional way of selling out of home
media. A level of delivery that directly relates
to the population of the market. Typical showing
levels are: #100, #75, #50 and #25
GRP/Showings. The number of panels involved
in an actual showing varies by market population
and the average DEC of the market’s
inventory. As the industry migrates to the
EYES ON system, this traditional definition will
need to be modified to incorporate the new
audience metrics.
Single Sheet Poster
A poster constructed as a single and continuous
substrate. Single sheet posters are typical
make from thermoplastic polymers. Single
sheet posters can be recycled.
Snipe
An adhesive strip that is used to cover a portion
of copy displayed on an out of home unit.
Spectacular
A bulletin that is usually larger than 14’ x 48’
and is positioned at a prime location in a market.
A spectacular often utilizes special embellishments.
Spotted Map
A map showing all locations included in a specific
out of home program.
Standardized Unit
Out of home units constructed in accordance
with the specifications established by the
OAAA.
Street Furniture
Advertising displays, many that provide a pub-
122

lic amenity, positioned at close proximity to
pedestrians for eye-level viewing or at a curbside
to impact vehicular traffic. Street furniture
displays include, but are not limited to: transit
shelters, newsstands/news racks, kiosks,
shopping mall panels, convenience store panels
and in-store signage.
Substrate
A wide variety of material used to produce out
of home displays. Billboard substrates are typically
made from thermoplastic polymers or
PVC. Many street furniture and transit substrates
are made from Fasson, paper, or film,
among other materials.
Surface Arterials
Major streets in towns or cities that carry a
heavy flow of vehicular traffic.
[T]
Target Audience
In the EYES ON system, any audience reflecting
the most desired consumer prospects for a
product or service, defined by age, sex, race,
ethnicity or income; or their combinations for
any geographic definition.
Target Rating Points
1. The total number of In-market EYES ON
Impressions, to a target audience, delivered by
an Out of Home display expressed as a percentage
of a market population. One rating
point represents impressions equal to 1 percent
of the market population. In the calculation
of GRPs, total EOIs must first be reduced
to the In-Market EOIs of individuals who live in
the defined market and are part of that market’s
population.
2. For other media, Target Rating Points are
based on opportunity to see audiences.
To and Through Audience
A portion of the total EOIs for a display that is
comprised of people who do not live in the
neighborhood but travel past the unit. The
demographic characteristics of “the to and
through” audience can be significantly different
from those of people who live in the surrounding
neighborhood.
Transit Displays
Displays affixed to moving public transportation
vehicles or in the common areas of transit
terminals and stations. Transit displays include,
but are not limited to: bus panels, train/rail
panels, airport panels, taxi panels and mobile
advertising signage.
Transition
A visual effect used on an LED display to
change from one message to another.
Transit Poster (Bus)
Posters attached to the exterior of buses.
Common displays are king panels, queen panels
and taillight panels. King panels are on the
street-side of the bus. Queen panels are on the
curb side of the bus. Taillight panels are on the
back of the bus.
Transit Poster (Commuter Rail)
Posters displayed in commuter rail stations and
on trains.
Transit Shelter
A curbside structure located at regular stopping
points along urban bus routes.
Trim Size
The dimensions of an advertisement substrate
once it has been prepared for placement onto
an out of home unit.
Tri-Vision
An out of home unit with a slatted face that
allows three different copy messages to
revolve at intermittent intervals.
TRP - Total Rating Point
Also called GRP (Gross Rating Point). The
term refers to the total number of impressions
delivered by a media schedule expressed as a
percentage of a market population.
123

[U]
UV Coating
Ultra-violet cured coatings are applied over
inks printed onto advertising substrates and
dried by exposure to UV radiation. UV coatings
are used to prevent color fading on advertisements
from sun exposure or other ambient
lighting sources.
Under Tension
Under tension refers to the maximum tolerance
allowed when stretching a substrate across an
out of home unit. Tension is used to eliminate
wrinkles or folds along the surface of an advertisement.
Un-Illuminated Unit
An out of home unit that has not been
equipped with lighting for nighttime illumination
of an advertising message. The EOIs for an unilluminated
unit are calculated using a 12 hour
viewing period.
[V]
Vinyl
See Polyvinyl chloride.
[W]
Wall Mural
Murals painted or attached directly onto the
exterior surface of a building.
Wallscape
See Wall Mural
Wrapped Poster
A standardized display format, typically measuring
12’ 3” x 24’ 6” in overall size. Wrapped
posters offer the impact of a bulletin by using a
single vinyl face stretched over a standard
poster panel.
Wrapped Square Poster
A standardized display format, typically measuring
25’ 5” x 24’ 6” in overall size. The
wrapped square poster a single vinyl stretched
over two stacked poster panels. In some mar-
kets, this same technique can be applied to
stacked junior posters, typically measuring 12’
6”x 12’ 1” in overall size.
[X]
[Y]
[Z]
124

[INDEX]
[A]
Airborne, 3, 95, 116
Airport Advertising, 2, 3, 20, 31, 32, 36, 44,
49, 77-79, 105, 109, 123
Aisle Displays, 70
Allotment, 10, 116
Alternative Media, 1, 2-3, 94-109, 115, 116,
120
Approach, 116
Arena Advertising, 3, 96, 116
Awareness, 11, 19, 22, 29, 32, 35, 38, 42, 43,
103, 106, 116
[B]
Baggage Claim, 31,77-78
Bars, 102, 116
Beach Advertising, 3, 97
Bicycle Racks, 3, 66
Bicycles, 3, 66
Billboards, 1, 2-3, 5-6, 20-21, 55-64, 116
Bleed, 57, 62, 63, 72, 73, 79, 80, 81, 82, 89,
97, 116
Blimps, 3, 98
Bluetooth, 42
Bonus Act, 2
Bulkheads, 87, 91
Bulletins, 3, 6, 7-10, 25, 28, 29, 31, 32, 36,
38, 40, 49, 56-57, 116, 119
Permanent, 56, 121
Rotary, 10, 56, 122
Bus Benches, 3, 34, 67
Bus Shelters, 2, 3, 7-10, 20, 24, 25, 29, 34,
36, 40, 68, 73, 78, 123
Buses, 2, 3, 20, 25-26, 29-30, 34, 80-86, 123
[C]
Cable, 12, 13
Call to Action, 33, 42, 103
Cartons, 3, 99
CBSA, 8, 17-18, 116-117, 118, 120
Character Height, 48-49, 117
Charting, 9-10, 117
Checkout Counter Dividers, 69, 70, 106
Cinema, 1, 2-3, 27-28, 110-111
Clocks, 70, 90-91, 108
Code of Industry Principles, 5-6
College, 72, 102, 109
Commercial Audience, 7-10, 11, 12-16, 17, 29,
33, 44, 56, 77-78, 80, 86, 117
Commuter Rail, 36, 38, 90-92, 123
Completion Reports, 19, 121
Contrast, 46-48, 117
Convenience Store Advertising, 3, 69, 70, 106,
116, 117, 123
Co-op, 17, 117
Cooperative Advertising, see Co-op
Copy, 14, 21-22, 41-50, 52-53, 117, 118
Copy Area, 56, 62, 64, 67, 68, 69, 71, 75, 78-
79, 80-83, 87, 97, 105, 108, 116-117
County, 8, 17-18
CPM, 12-15, 117, 118
CPP, 117, 118
Creative, see Copy
Cups, 3, 36, 99
Custom Inflatables, 3, 98
[D]
DEC, 7-8, 118, 122
Digital Billboards, 3, 5-6, 13, 27-28, 50, 58,
119
Dioramas, 36, 77-79, 90-91, 96
Display Period, 118
DMA, 8, 17-18, 100, 101, 117, 118, 120
Drug Stores, 70
Dry Cleaning Bags, 3, 36, 100
[E]
Elevators, 36, 106
Embellishment, 45, 56-57, 118, 122
EOI,7-9, 116, 119, 120, 123
Escalators, 75
Extensions, 45, 54, 56-57, 62, 63, 119
EYES ON, 7-10, 16, 118
EYES ON Impressions, see EOI
[F]
Flight, 22, 25-26, 28, 31, 33, 35, 71, 111, 119
Floor Graphics, 35, 70, 77-78, 91
Font, 48, 54, 57
Food Courts, 75
Frame, 45, 68, 72, 81-83, 86, 89, 90-91, 93,
125

97, 109, 119
Frequency, 8-10, 11-15, 31, 33, 38, 44, 59, 77,
80, 86, 89, 90-91, 95, 119
[G]
Gas Pumps, 20, 101, 106
Gas Station Advertising, 2, 3, 101, 109
Golf Course Advertising, 2, 3, 103
Gross Impressions, 119
GRP, 8, 22, 59, 64, 68, 73, 75, 80, 86, 90-91,
109
[H]
Headlight Displays, 82-83
Healthclubs, 35, 36, 102, 116, 120
High Impact Taillight Displays, 84
Highway Beautification Act, 2. 5
Hue, 46-47
[I]
Inflatables, see Custom Inflatables
In-Flight Advertising, 3, 36, 87
In-Store Advertising, 3, 70, 123
Interior Car Cards, 86, 91-92
Internet, 11, 13-14, 20
[J]
Junior Poster, see Poster
[K]
Kerning, 48
King Size Bus Posters, 29, 34, 81, 123
Kiosks, 3, 26, 28, 30-31, 36, 73, 75, 77, 123
Information, 3, 40, 71
Telephone, 3, 20, 40, 72, 121
[L]
Leading, 49
LED lighting, 53
Letter Height, see Character Height
Lighting, 52-53, 56, 71, 105, 118, 119
Magazines, 1, 14, 20
[M]
Mall Displays, 2, 3, 20, 25-26, 30, 31, 36, 49,
67, 75, 105, 109, 120, 123
Marine Vessels, 3, 104, 116
Military Bases, 102
Mobile Billboards, 3, 31, 88, 120
Murals, 3, 25, 61, 75, 91, 105, 124
[N]
Newspapers, 1, 11, 15, 20
Newsracks, 3, 40, 72, 73, 123
Newsstands, 3, 73, 123
OAAA, 2, 5-6, 19, 112
Overhead Bins, 87
[O]
[P]
Parking Garage Advertising, 3, 105
Parking Lot Stripes, 105
PDM, 17-18, 121
Pedestrian Panels, 3, 74
Permanent Bulletins, see Bulletins
Pizza Boxes, 99
Place Based Advertising, 3, 44, 102, 116
Place Based Digital Networks, 3, 106, 118,
120
Plant, 17-19, 57, 58, 61, 66, 118, 121
Plant Defined Market, see PDM
Polyethylene (PE), 52, 57, 59, 64, 121
Polypropylene (PP), 59, 64, 121
Polyvinyl Chloride (PVC), 52-53, 57, 59, 64,
104, 121, 122, 123
Posters, 3, 9, 36, 38, 44, 49, 54, 60, 121
Junior, 3, 59, 120
Single Sheet, 52, 59, 60, 122
Wrapped, 3, 63, 124
Wrapped Square, 3, 64, 124
Projection, 3, 25-26, 31, 107
Proof-of-Performance, 9, 19, 121
[Q]
Queen Size Bus Posters, 29, 81, 123
[R]
Radio, 1, 11, 14, 17, 20-21, 29
Rail, 3, 36, 38, 89-91, 123
126

Rating Points, 8-9, 122
Reach, 1, 2, 8-9, 11-16, 35, 60, 77, 93, 116,
118, 122
Recall, 15, 20, 21, 29, 42, 43, 45, 47, 92, 100
Recognition, 21, 38-39, 116, 121
Recycle, 52, 59, 60, 122
Regulation, 5-6, 57, 104
Restaurants, 20-21, 92, 99, 102, 116
Restrooms, 102
ROI, 10, 53-54
Rotary Bulletins, see Bulletins
[S]
Sails, 104
Scoreboards, 96
Screens, 28, 61, 77, 87, 88, 92, 96, 101, 102,
103, 106, 111, 117, 118
Shades, 46
Shelf-talkers, 70
Single Sheet Posters, see Poster
Ski Area Advertising, 3, 108
Skywriting, 95
SMS, 42
Solar, 53-54
Spectaculars, 3, 25, 38, 49, 56, 61, 77-79,
122
Spinnakers, 104
Stadium Advertising, 2, 3, 20, 26, 49, 96, 116
Station Domination, 25-26, 28, 32, 38, 40, 90
Street Furniture, 1, 2-3, 7, 65-75, 120, 123
Subway, 2, 3, 25, 32, 89-91
Super King Size Bus Posters, 34, 80
Supermarkets, 20, 35, 60, 67, 70, 101, 106,
109
[T]
TAB, 1, 7-10, 15, 18, 56, 58, 59, 60, 61, 62,
63, 64, 68, 74, 88, 93, 112, 118
Taillight Displays, 83, 123
Target Audience, 3, 9-10, 16, 18, 33, 123
Target Rating Points, 9, 123
Taxi advertising, 2, 3, 20, 25-26, 27-28, 31,
36, 92, 123
Taxi Tops, 20, 31, 36, 92
Taxi Trunks, 92
Television, 11-13, 17, 20-21, 27-28, 29, 96,
98, 118
Tints, 46
Traffic Audit Bureau, see TAB
Transit Advertising, 1, 2-3, 5, 25, 28, 34, 38,
54, 76-93, 120, 123
Transit Poster, 3, 80-85,89-91, 123
Transit Shelter, see Bus Shelter
Trash Receptacles, 3, 109
Traveling Displays, 83
Tray Tables, 87
Tri-Vision, 38, 123
TRP, see Target Rating Points
Truckside, 3, 93
[V]
Value, 46-47
Vinyl, 50, 52-53, 57, 59, 60, 62, 63, 64, 70,
79, 80, 81, 82, 83, 84, 85, 88, 90-91, 92,
93, 95, 104, 105, 121, 122, 123
[W]
Wall Murals, 3, 62, 90, 124
Wind, 53
Wrapped Posters, see Posters
Wrapped Square Posters, see Posters
127